The Doors The Doors RePoPo (Perception Remaster) EAC FLAC

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Name:The Doors The Doors RePoPo (Perception Remaster) EAC FLAC

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The Doors - The Doors (Perception Remaster)

The Doors - The Doors

01.- Break On Through (To The Other Side) [02:29]
02.- Soul Kitchen [03:35]
03.- The Crystal Ship [02:34]
04.- Twentieth Century Fox [02:33]
05.- Alabama Song (Whisky Bar) [03:20]
06.- Light My Fire [07:08]
07.- Back Door Man [03:34]
08.- I Looked At You [02:22]
09.- End Of The Night [02:52]
10.- Take It As It Comes [02:17]
11.- The End [11:45]
12.- Moonlight Drive (Version 1, recorded in 1966) ** [02:43]
13.- Moonlight Drive (Version 2, recorded in 1966) ** [02:30]
14.- Indian Summer (8.19.66 Vocal) ** [02:36]

** = Bonus tracks, exclusive for this release

CD Ripped using Exact Audio Copy. Converted to FLAC using dbPowerAmp. This
album is part of the "Perception" box set, which enclosed all six studio
albums from The Doors, with bonus DVDs and a enhanced audio, specifically
remastered for this box.

Review by Bruce Eder (allmusicguide)
A tremendous debut album, and indeed one of the best first-time outings in rock
history, introducing the band's fusion of rock, blues, classical,
jazz, and poetry with a knockout punch. The lean, spidery guitar and organ riffs
interweave with a hypnotic menace, providing a seductive backdrop
for Jim Morrison's captivating vocals and probing prose. "Light My Fire" was the
cut that topped the charts and established the group as stars, but
most of the rest of the album is just as impressive, including some of their
best songs: the propulsive "Break On Through" (their first single), the
beguiling Oriental mystery of "The Crystal Ship," the mysterious "End of the
Night," "Take It as It Comes" (one of several tunes besides "Light My
Fire" that also had hit potential), and the stomping rock of "Soul Kitchen" and
"Twentieth Century Fox." The 11-minute Oedipal drama "The End" was
the group at its most daring and, some would contend, overambitious. It was
nonetheless a haunting cap to an album whose nonstop melodicism and
dynamic tension would never be equaled by the group again, let alone bettered.

Originally released as part of the completed recorded works 2006 box set
Perception, this deluxe edition of the Doors' classic 1967 debut is a
double-disc set containing one CD featuring a newly remastered version of the
album with bonus tracks and a DVD with a 5.1 Surround mix, bonus video
footage, and a photo gallery. Given that the Doors catalog was remastered just
seven years before this box, the sonics of these 2006s remasters are
noticeable but not radically different -- with the exception of The Doors, for
research revealed that the debut was mastered a half-speed slow and
this edition restores it to its correct speed. It's a subtle but significant
difference, as opposed to the rest of the remasters, which are subtle
but only significant to audiophiles who know this music intimately. Similarly,
the bonus tracks are not major revelations: two takes of "Moonlight
Drive" plus a vocal version of "Indian Summer," while the videos include "Break
on Through" and a Toronto television broadcast of "The End" from
1967. Just because these aren't big revelations doesn't mean that this deluxe
edition doesn't live up to its title: this is the best-sounding,
best-presented reissue of this album yet.

The songs "Break on Through (To the Other Side)" and "The End" were both
released censored with the album. During "Break on Through" the part where
Jim Morrison sings "She gets, she gets" was originally recorded as "She gets
high." The interlude singing part near the end of "The End" was censored
and taken out. It included Jim using the word fuck over and over. Subsequent
releases of the album have both of the original parts intact, although
1980s compact disc reissues appear to keep the verses censored. The band
accepted this censorship but would supposedly refuse later to reword "Light
my Fire" in the infamous Ed Sullivan Show ("Girl we couldn't get much higher"),
although according to Ray Manzarek, while singing this song, Jim
Morrison simply forgot to replace the word.

The album's dark tone and frontman Jim Morrison's sexual charisma and wild
lifestyle influenced much of rock and roll to come.

The album is generally thought of as the band's best work, in addition to being
one of the greatest debut albums by any band. It's also considered to
be one of the quintessential albums of the counterculture movement/Social
Revolution. In 1998 Q magazine readers voted The Doors the 93rd greatest
album of all time; in 2003 the TV network VH1 placed it at number 60. In 2003,
the album was ranked number 42 on Rolling Stone magazine's list of the
500 greatest albums of all time.



This short track fittingly commences the Doors debut album and single with its’
direct agenda of pushing all envelopes and exploring all facets of
existence. A daunting task that the band -- under the lyrical and spiritual
leadership of Jim Morrison -- were ready to take on. Musically, the Doors
unique, undeniably fresh and somewhat punk perspective, fused the mind altering
ideas of psychedelia with the intricate musicianship of jazz as well
as the vibe of the burgeoning youth underground -- somehow creating a sound that
defined an era of rock and roll.

Immediately the lyrics indicate that something is different. For example,
Morrison’s use of the words “destroy” and “divide” to invoke images of day
and night, reveal a literacy that had rarely been incorporated into rock music.
Break On Through” is structured like a love song. However, Morrison’s
phraseology cleverly juxtaposes romantic lyrics such as “I found an island in
your arms/A country in your eyes” with the almost sinister lines “arms
that chain/Eyes that lie”.

Musically, the Latin-derived opening -- courtesy of drummer John Densmore --
draws the listener in. It builds with Ray Manzareks’ throbbing bass
pedals and Robbie Krieger’s understated lead guitar. Suddenly, the band turn a
corner and sonically explode behind Morrison’s frenetic lead vocals,
shouting “Break on through to the other side”. Instead of Morrison’s punk sneer
and growl flying in the face of their image as an acid-dropping
psychedelic hippie band, it serves as a wake up call to all concerned parties
that the social rules -- both spoken and understood -- have radically
changed and are no longer what they may seem. This was in essence what the Doors
were all about.

Elektra Records censors objected to the use of the word "high" in the middle
section of the song (after "everybody loves my baby") due to its drug
connotations. The original album version has the line "she gets" repeated before
a grunt at the end. Live versions and later releases of the song
have the uncensored version with "high" restored.


It is regarded as a goodbye love song to Jim Morrison's first love, Mary
Werbelo. Like much of The Doors' work, it sets up an eerie, dark flow. It's
rumored to have been the band's first long song, especially for Ray Manzarek's
and Robby Krieger's improvisations, but was changed by When The
Music's Over.

The inspiration for the "crystal ship" is an oil rig off of Sand's beach in Isla
Vista, California.

John Densmore "co-writer" states: "Jim wrote The Crystal Ship for Mary Werbelo
in 1964, a girlfriend with whom he was breaking up, it was in his
famous notebook of poetry he had when we formed. (sic),. . . . The song was a
goodbye love song."

The song was covered by Duran Duran for their 1995 covers album Thank You. It
was also covered by pianist George Winston on his album Night Divides
the Day - The Music of the Doors.

The song also appears on The X-files Movie Soundtrack by X.

The song has also appeared in television. An episode of Supernatural (TV series)
-season two's Born Under a Bad Sign- uses the song in a particularly
dark setting.

Joe Perry covered the song on his 2005 eponymous debut album.

During the '70's and early '80's, there was a popular Doors cover band from New
Jersey called "The Crystal Ship." The band played mid-sized venues in
the tri-state area, like "Mother's" in Wayne, NJ, "Great Gildersleeves" in
Manhattan, "My Father's Place", in Roslyn, Long Island, and "Jimmy Burns'"
at the Jersey Shore. The band was formed in Hawthorne, NJ, and played its first
few gigs at a biker bar in Paterson called the Highland Tavern. The
lead singer's name was Joe Vitagliano.

In the beginning of the song Bitchin' Camaro by the punk rock group the Dead
Milkmen one character explains to the other that while at the Jersey
Shore, he plans on seeing his favorite Doors cover band Crystal Shit. This is
likely a reference to the Doors cover band, The Crystal Ship.

In the video game Grand Theft Auto: San Andreas a radio DJ (played by Guns N'
Roses lead singer Axl Rose) states that he used to be in a band called
Crystal Ship. This is most likely a reference to the New Jersey cover band as

Japanese psychedelic band Suishou no Fune's name translates to "Crystal Ship"

Nicole Atkins covered this song on her 2008 album Nicole Atkins Digs Other
People's Songs.


The "Alabama Song" (also known as "Whiskey Bar") was originally published in
Bertolt Brecht's Hauspostille (1927). It was set to music by Kurt Weill
for the 1927 "Songspiel" Mahagonny and used again in Weill's and Brecht's 1930
opera Rise and Fall of the City of Mahagonny. In the latter, it is
performed by the character Jenny and her fellow prostitutes in the first act.
Musically it contains elements of foxtrot, blues and advanced soprano
coloraturas, sung by Jenny.

The song style is typical of German schlager music, which was popular in Europe
during the 1960s and 1970s.

The lyrics for the "Alabama Song" are in English (albeit specifically
idiosyncratic English) and are performed in that language even when the opera
is performed in its original German.

Jim Morrison, changed the second verse from:

Show us the way to the next pretty boy to Show me the way to the next little

The first verse was:

Show me the way to the next Whiskey bar,

which David Bowie sang as:

Show us the way to the next whiskey bar,

In the late 1970s (thereby matching how the line read in Brecht's Hauspostille
before being part of the Mahagonny works). Bowie began performing his
take on "Alabama Song" on his 1978 tour and released a studio version the
following year. The Doors' version appeared on the first season of WKRP in
Cincinnati in the episode "Fish Story".


from allmusicguide:

“Light My Fire” -- from the quartet’s self-titled debut LP -- is the track that
propelled the Doors onto the charts and into the collective
consciousness of rock ‘n’ roll. The undeniably catchy melody and pulsating Bossa
Nova rhythms support Morrison’s obvious and blatantly sexual lyrics.
Although the song is officially credited to the band, it was actually guitarist
Robbie Krieger who came up with the “C’mon baby, light my fire …”
hook. The performance however is a group effort in the classic sense, as they
symbiotically propel each other into some remarkably intense and
emotionally charged interaction. This is not only true of the studio version, as
the presence of a live audience often intensified the band’s
resolve. Specifically, the instrumental trio’s improvisational skills are honed
when coupled with their uncanny ability to instinctually support
Morrison’s mostly non-verbal and inaudible cues.

Between the verses, are some definitive psychedelic solos. Ray
Manzarekmelodically swirls his eerie and intricate leads through the spaces
opened up
in John Densmore’s fluid jazz and Eastern-influenced drumming. Krieger follows
suit with some incendiary fretwork that challenges and ultimately
steers his solo into a staccato phrase that instrumentally reunites the trio as
they reconvene for the final verse and chorus.

The Doors topped the charts with “Light My Fire” and it became both a fan
favourite and live staple. The track has a colourful performance history as
well -- highlighted by their first -- and likewise their last -- appearance on
the Ed Sullivan Show. Legend has it that after promising -- and
subsequently reneging -- to replace the word “higher”, during the live
coast-to-coast broadcast, the Doors were ex communicated from ever appearing
on the weekly variety show again. There are also numerous live recordings of the
track on a variety of archival releases. Of particular note are the
^Live at the Aquarius Theatre: The Second erformance (2000) and Live at the
Hollywood Bowl (1987) renderings.

“Light My Fire” has become synonymous with the ‘60s psychedelic and sexual
revolutions. It has been covered by a wide spectrum of talent, ranging
from Calvert DeForrest [AKA Larry “Bud” Melman] to Jackie Wilson and Woody
Herman. However, with the notable exception of Jose Feliciano’s chart
topping version, none of the covers capture the raw interaction of the original.

from wikipedia:

The song originated as a Robby Krieger unfinished composition, which the other
band members then expanded upon. There was also a radio edit that was
shortened to just under five minutes with about half the instrumental portion in
place, released only to radio stations. Indeed, the band always
stated that their preferred version was the original long version, while the
shorter ones were solely produced at their company's request in order to
be able to receive radio airplay.

"Light My Fire" was performed by The Doors on a famous appearance on The Ed
Sullivan Show September 17, 1967. In an oft-told legend, The Doors were
asked to change the lyrics of the song (specifically, the line "girl, we
couldn't get much higher"). The producers told Morrison to write a new lyric
for the line, but he refused. The band promised to do so, but according to Jim
Morrison he forgot to change the lyrics at the last minute and
performed the unedited version live on-air, which he attributed to having been
nervous. Years later, Ray Manzarek wrote that even after being told to
change the lyrics, the band never even considered changing them. Despite
applause from the crowd, Ed Sullivan was so upset that he refused to shake
Morrison's hand as he left the stage. Backstage, the band was told that, despite
being on the verge of signing a seven-episode deal to continue
appearing on the program, they would never be on the Sullivan show again.
Reportedly, Morrison's cavalier response was: "Hey, man, so what, we just
did the Sullivan show!"

John Densmore recalls that when Buick wanted to buy the piece for use in a 1968
TV commercial ("Come on, Buick, light my fire") and Morrison, who had
been out of town, learned that other group members agreed, Morrison called Buick
and threatened to have a Buick smashed with a sledgehammer on a TV
show should the (presumably ready) commercial be aired.


In southern culture, the phrase "back-door man" refers to a man having an affair
with a married woman, using the back door as an exit before the
husband comes home. "When everybody trying to sleep, I'm somewhere making my
midnight creep. / Every morning the rooster crow, something tell me I
got to go / I am a back door man", Wolf sings. The promiscuous "back-door man"
is a standard theme found in many blues, including those by Charley
Patton, Lightnin' Hopkins, Blind Willie McTell and Sara Martin; "every sensible
woman got a back-door man," Martin wrote in "Strange Loving Blues"
(1925). Robert Plant references the Dixon song in Led Zeppelin's "Whole Lotta
Love" (1969): "Shake for me girl, I want to be your back-door man." The
phrase "back-door man" dates from the 1920s, but the term became a double
entendre in the 1960s, also meaning "one who practices anal intercourse."

The song became an early standard cover song of The Doors, along with Dixon's
songs "Little Red Rooster" and "Close to You". The "door" of the song,
like the name of the band, suggests a Blakean symbol of perception, with an
awareness of the 1960s Queer-culture double entendre giving the
expression an additional layer of meaning. The Doors' drummer John Densmore
described the song as "deeply sexual and got everyone moving." The song
also appears on The Doors' live album Absolutely Live (1970).


There are few Doors songs that can lay claim to the same level of both musical
and cultural significance as “The End”. Although the lengthy and
conscious-shattering track rounds out the band’s eponymous debut, its’ concert
life actually pre-dates the long player. Legend has it that early
performances -- particularly during the “Oedipus section” -- were not only
greeted with stunned silence, but ended up costing the band one of their
first live gigs.

Lead vocalist and lyricist Jim Morrison’s poetic brilliance rarely, if ever,
surpassed this slow, languid and scarily psychedelic tale that
simultaneously draws on aspects of both love and hate. The narrative proved to
be far more complex than most concurrent pop/rock at the time. As
such, it requires the listener to ultimately surrender to the complexity of the
multiple layers woven into the story line. In keeping with Morrison’s
lyrical capacity for ambiguity, an analysis often begs more questions than it
ultimately answers.

The tale of incestuous lust and murder comes full-circle and is framed by the
ultimate finality in Morrison’s statement that “This is the end.”

Although “The End” was often included as part of the Doors early live sets, it
became a real rarity in the wake of the litigious situations that
Morrison found himself mired in during 1969. One of the last concert
performances is available on the posthumously issued live Doors In Detroit
(2000) CD set.

Arguably the most notable cover version is by Nico, as the title track from her
1974 release. Although it might seem impossible, she turns the song
into an even more torrid and wrenching musical maze of madness. Her version is
often dismissed by Doors fans as ‘unlistenable’, however her rendering
on the seminal June 1, 1974 LP is perhaps more what Morrison actually intended.

Another notable use of this song was by Francis Ford Coppola during the
commencing sequence of his Vietnam epic Apocalypse Now (1979). The marriage
of sound and image has rarely been as cinematically memorable. To quote Marlon
Brando -- “the horror … the horror”.

from wikipedia:

Robby Krieger's slinky, haunting guitar lines over D drone in DADGAD tuning
using a harmonic minor scale recall Indian drone and raga-based music, as
has often been noted, and the rolling and dramatic crescendoes of John
Densmore's drums recall Indian tabla rhythms. The music as a whole, though,
does not sound entirely or even particularly "Indian". The sharp, ringing edge
of the guitar recalls the 50s rock and roll style, while the
fingerpicking attack may derive equally from the flamenco guitar style Krieger
had studied as a youth and from folk music. Ray Manzarek's organ is
used sparingly to provide an inconspicuous bass line (I-V-I-V-I-V...) and fills.
One may find a strong similarity to Chopin's "Funeral March" theme
and also to Sandy Bull's guitar instrumental "Blend" - but this may be more to
do with the quality of the melodic minor scale than with any specific

Structurally, the song rises to three separate mini-crescendoes separated by
slower sections of half-spoken, half-sung lyrics before building to an
enormous psychedelic crescendo right after Jim Morrison sings the "meet me at
the back of the blue bus" verse. Previously, the song had been weaving
along on its melodies to an encounter with the ruling powers of the mind, the
controlling "father" structure and the longed-for "mother", or freedom.
The final crescendo represents either an attempt to break through to that
freedom, or more likely, an Oedipal sexual climax. The sexual
representation seems more likely given the similar crescendo apex very much
along the lines of Ravel's 'Bolero". Afterward, "The End" departs on a
wistful note when Morrison sings, "It hurts to set you free, but you'll never
follow me. The end of laughter and soft lies, the end of nights we
tried to die." In the context of Morrison's first interpretation quoted above,
this lyric and the associated music that softly reiterates themes from
the opening may mean that the comfort of childhood will be sacrificed for

Shortly past the mid-point of the nearly 12-minute long album version, the song
suddenly enters a spoken-word section with the words, "The killer
awoke before dawn... " That section of the song reaches a dramatic climax with
the lines, "Father/ Yes son?/ I want to kill you/ Mother, I want to...
(fuck you)," (with the last two words screamed out unintelligibly). This is
often considered a reference to Sophocles' Oedipus the King, a production
of which Jim Morrison had worked on while at Florida State University.

Said Morrison in 1969, "Everytime I hear that song, it means something else to
me. It started out as a simple good-bye song probably just to a girl,
but I see how it could be a goodbye to a kind of childhood. I really don't know.
I think it's sufficiently complex and universal in its imagery that
it could be almost anything you want it to be." Producer Paul Rothchild said in
an interview that he believed the song to be an inside trip, and that
"kill the father" means destroying everything hierarchical, controlling, and
restrictive in one's psyche, while "fuck the mother" means embracing
everything that is expansive, flowing, and alive in the psyche. Ray Manzarek,
the former keyboard player for the Doors spoke about it defensively
“ He was giving voice in a rock 'n' roll setting to the Oedipus complex,
at the time a widely discussed tendency in Freudian psychology. He
wasn't saying he wanted to do that to his own mom and dad. He was re-enacting a
bit of Greek drama. It was theatre! ”

Morrison may have been influenced by the Jungian concepts of individuation and
archetypes, and was certainly influenced by Friedrich Nietzsche's
concept of going beyond the limited types of human beings that hitherto existed
by loving Dionysian vitality and life ("the mother") while rejecting
Apollonian systems and traditions ("the father").

The lyrical reference to "the Blue Bus" has been variously conjectured to refer
to either Indian mystic Meher Baba's "Blue Bus" tours of the 1930s or
to Santa Monica's "Big Blue Bus" public bus lines. The link to Meher Baba seems
unlikely given the dark and nihilistic tone of the song, with its
references to insanity, patricide and incest, concepts alien to the life and
outlook of Meher Baba. A reference to a bus line is a somewhat better
possibility, but probably the most likely conjecture is that Morrison was
referring to the drug numorphan (oxymorphone), an opioid substitute for
morphine, which in the drug culture at the time was often referred to as "The
Blue Bus" (it was available in blue 10mg instant-release tabs). Because
of its highly euphoric effect Numorphan was very popular with the drug using
community before it was withdrawn from the market in the 1970's. Given
Morrison's well-known affinity for drug and alcohol use, and the overall
"otherworldly" tenor of the song, this seems a more likely probability. The
inspiring image would be that of being together with one's lover in the altered,
dreamy state of consciousness induced after taking the powerful
opiate-like drug. Similarly, the line "the blue bus is calling us" likely refers
to the addictive attraction of oxymorphone that develops in abusers
of the drug, and "driver where you takin' us" would refer, again, to the dreamy,
exploratory, unpredictable state of altered consciousness
experienced while under the influence of the drug.

Another explanation for "the Blue Bus" phrase would be as a reference to the
blue buses that, in the United States, military inductees boarded for
transport to basic training during the era of the Vietnam War, when the song was
written. Morrison may have intended it to be an anti-Vietnam anthem.
Morrison's father was an admiral in the U.S. Navy and as a "navy brat", he was
familiar with military life; no doubt he saw many "blue buses" in his

The following are phrases from "The End" that may help put the phrase "the Blue
Bus" in context. The phrase "The west is the best, The west is the
best, Get here, and we'll do the rest" could summon images of troops preparing
for transport to Vietnam to fight in the proxy "West vs. Communist"
cold war. Other phrases that could be seen as military allusions include "Lost
in a Roman...wilderness of pain" and "The killer awoke before dawn, he
put his boots on; He took a face from the ancient gallery." This may be the
image of a soldier dressing to do battle in modern times, with an
allusion toward a Roman infantryman. The phrase could also be an image of a
Greek actor putting on a mask to perform in a play, except prior language
implies a Roman allusion rather than one of an ancient Greek. Much of the brutal
context of the song, implying random acts of killing, may make more
sense in the context of war rather than in a drug trip gone bad, or the
carefully prescribed plot of a Greek tragedy (cf. Oedipus). Further, the song
begins and ends similarly: "This is the end, Beautiful friend; This is the end,
My only friend; The end of our elaborate plans; the end of everything
that stands; The end; No safety or surprise; The end; I'll never look into your
eyes... again."

"The End" was most famously used as a framing device for Francis Ford Coppola's
1979 film Apocalypse Now, in which its dark, poetic passage marked
the film's descent into the surreal. The sound of helicopter rotors from the
beginning of the film are often included in recordings of the song.
However, this version of the song is also incomplete, and the sounds of a jungle
replace most of the lyrics in the second half of the song.

This usage has led to other, often satirical usages for the song's appearance:

* Three sequences on The Simpsons television series in which the song plays
while Homer contemplates suicide and another, "Kiss Kiss Bang
Bangalore", in which, in an Apocalypse Now parody, he thinks he is a god, Smoke
on the Daughter, When Bart raises his head out of the pile of leg
warmers in the smoke outside, the song's instrumental portion is heard,
mirroring a sequence in the film Apocalypse Now.
* A Saturday Night Live sketch in which John McCain is driven to madness
while campaigning for George W. Bush as a parody of Apocalypse Now.
* It was used in the final episode of The Dennis Miller Show, during another
Apocalypse Now parody sequence, in which Dennis was airlifted by (we
are led to believe) a helicopter out of the set.
* The song was also referenced in a 2006 episode of The Venture Bros.
entitled "Assassinanny 911", in a scene which also parodied the Apocalypse
Now usage, when Hank (under the influence of poison) quotes the Oedipal section
of the song and tries to kill his father with a paper machete sword
while a Doors-influenced score plays in the background.
* The song was parodied in an episode of Animaniacs, the plot of which was
partly a parody of Apocalypse Now. At the start of the episode, a
voice actor sings in a Morrison-like voice, "This is the beginning... the
beginning of our story...the beginning...". At the middle of the story, the
word "beginning" is replaced with the word "middle". At the end of the episode
he says "This is the ending...the ending of our story...the
ending...the ending...the ending...the ending." and a Jim Morrison character is
seen being run over by a golf cart.
* Director Martin Scorsese once used the song in a sex scene montage in his
early student film Who's That Knocking at My Door (1968).
* The song was also used in Oliver Stone's 1991 film The Doors, where it
plays while the band explored drugs in the desert.

Info taken from allmusicguide and wikipedia

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