Not just a debut, but a self titled album that immediately signals a band’s entire identity, The Doors is certainly one of them. This album was released by Elektra in 1967, right in the thick of the psychedelic era. While The Doors embraced this to an extent, they chose a moodier, darker and more intensely personal sound than their contemporaries.
The Doors isn’t just a collection of tracks so much as an invitation into a new realm of sounds, and a lot of that is due to the lyrical delivery and artistic choices of Jim Morrison, who isn’t just singing hooks but driving an agenda, whether it’s always productive or not. Alongside him, Manzarek, Krieger, and Densmore provide the musical foundations, often venturing off on tangents but always drawing you back to their unique sound.
In a Nutshell
A brooding, hypnotic and bluesy psychedelic rock record that skillfully marries accessible songwriting with extensive experimentation. It’s a near-perfect album when it works, but unmatchable when it does.
Background
By the time the album was ready to be recorded in a studio, much of their material was rehearsed. A huge contributing factor to the tight feel of the album is how many of the songs were already in their fully formed states before they entered the studio. And tweaked live, notably at Whisky a Go-Go.
Initially the band had a deal with Columbia Records but they lost that deal before anything materialised, which in retrospect was a boon for The Doors as the new signing of the band on Elektra (thanks to Paul A. Rothchild who signed the band after seeing them perform live) paved the way for one of the most iconic and celebrated debut albums of all time. The new contract was signed after they were fired due to an unusually explicit performance of The End at their Whiskey a Go-Go residency.
Recording
The album was recorded in under a week at Sunset Sound Recorders, and that’s impressive considering how fleshed-out the final product sounds. One of the contributing factors of the unique “hollow” and “floating” sound of the album is the lack of a full-time bassist. Organist Ray Manzarek played the bass lines on the organ itself, sometimes augmented by session bassist Larry Knechtel, but these keyboard bass lines are the most distinguishing feature of The Doors. The album is so direct that producer Rothchild kept Krieger’s use of effects and studio tricks to a bare minimum. What’s produced is essentially the band’s live sound, but polished in the studio. The result is an album that, while very loose and sprawling on parts, does not feel overproduced.
Composition (Sound & Style)
The style and sound of The Doors are unique because it’s a mixture of numerous genres. Blues, jazz, classical, and cabaret influences are readily apparent throughout the tracks, yet it never feels contrived or confused, instead these diverse styles blend together into a perfect synergy of sound.
The blues influences are heard on the cover of Howlin’ Wolfs “Back Door Man”.
The psycheledelia is more in the atmospheric and mood of the album, rather than purely through sound manipulation. The classical and baroque sounds seep through, most notably through Manzarek’s keyboard work The jazz aspects are primarily within the drumming. John Densmore’s use of complex rhythms add a lot of variety within tracks.
It’s tension that seems to drive much of The Doors. Most songs tend to build up towards a crescendo of some description even though not every track truly explodes.
Track-by-Track Review
1. Break On Through (To the Other Side)
A short, sharp statement that kicks off the album. This isn’t by any stretch the best track on the album but the band states its purpose. This is who we are. Wait a while.
2. Soul Kitchen
Here the album begins to lock into a slightly more laid-back groove. The late-night feel of the album’s already established with a darker more introspective tone. Not the most stand out track but a very solid second effort.
3. The Crystal Ship
Arguably one of the strongest points of the album. Morrison actually sounds emotionally honest and vulnerable here, unlike other tracks where his delivery is more bombastic. This makes it an extremely intimate song.
4. Twentieth Century Fox
Catchy and serves as a good transition to break up the longer tracks. Perhaps a slight step down from the first three tracks but an enjoyable effort nonetheless.
5. Alabama Song (Whisky Bar)
An interesting cover choice. A Brecht-Song sung in German, this track has a distinctly cabaret and slightly unnerving feel, you either like this completely unique and experimental track or you don’t. There’s very little ground in between.
6. Light My Fire
This is where the album takes centre-stage. What appears to be a simple pop song, blossoms into a jam-packed opus with extensive organ work by Manzarek, this track stands testament to the band’s instrumental talent. An absolute anthem for its time, and it never gets old.
7. Back Door Man
A Howlin’ Wolf cover in its rawest form and Morrison lets loose with more primal aggression. Definitely a highlight from the album, and it really demonstrates the raw power of the band.
8. I Looked at You
A short, simple pop-rock effort that is slightly more generic than some of the other tracks. It doesn’t outstay its welcome and still serves the album as a palate cleanser.
9. End of the Night
Another strong effort which builds atmosphere expertly through a simple but effective organ riff and driving rhythm section. Again Morrison is perhaps more restrained than other tracks on the album.
10. Take It as It Comes
A very short but effective and slightly more upbeat addition to the album, this is a surprisingly underrated track and a good end to the majority of the album before “The End”.
11. The End
The End is probably the most polarising track on the album. A dark, sprawling and experimental track that involves extensive spoken word poetry. Whether you consider it a masterwork of avant-garde poetry or just “too much” is a matter of personal opinion. I can’t help but feel the impact of this extremely unique and ultimately seminal track.
Release & Reissues
The Doors was released in the United States on January 4, 1967 and it climbed slowly to number 2 on the charts before the single “Light My Fire” helped the album reach Number 2 on Billboard. The album has seen numerous reissues since its release, which indicates a constant demand and admiration for this record and as proof of its significance, the album has frequently re-entered and peaked higher on the charts again over the years.
Reception and Legacy
Early Reception
Contemporary critics were divided, some praised the album as innovative and groundbreaking while others found Morrison’s poetic leanings too excessive. Even at the time, it was clear this album was unique and boundary pushing.
Retrospective Reception
The Doors is considered one of the best debut albums ever, appearing on multiple “best of” compilation albums. However the criticism has remained, some believe that Morrison’s self-indulgence reached new heights, others feel that The End is excessively long.
Personnel
Jim Morrison – vocals
Ray Manzarek – organ, bass lines
Robby Krieger – guitar
John Densmore – drums
No traditional bassist was used for this album’s recordings, making it incredibly unique.
Final Verdict
This album isn’t perfect, as few things are, and it shouldn’t be considered as such. It has weak points in some of its lesser tracks, and at times Morrison does certainly push his poetic aspirations a step too far but this should never detract from what an exceptional album this is.
The highs, particularly Light My Fire, The Crystal Ship, and The End are astronomical and define much of the unique charm of The Doors. Beyond its powerful tracks however, the album really establishes The Doors as a band with a clear identity at such an early stage of their careers. This is a rare and remarkable feat.
Rating: 9/10
This is not only a fantastic debut album, but one of the most concise statements of a band’s identity.
The Doors official website.
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