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Doors | 
| Artist: Doors
Label: Rhino / Wea
Category: Music
List Price: $11.98
Buy New: $5.56
as of 9/10/2010 01:23 CDT details
You Save: $6.42 (54%)
New (49) Used (17) Collectible (5) from $5.21
Seller: moviemars-cds
Rating:  55 reviews
Format: Import
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 1011842
UPC: 081227999834
EAN: 0081227999834
ASIN: B000MCIBE8
Release Date: March 27, 2007
Availability: Usually ships in 1-2 business days
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| Features:
| • | The Doors - The Doors Brazil Import |
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| Tracks:
| • | Break On Through (To The Other Side) | | • | Soul Kitchen | | • | The Crystal Ship | | • | Twentieth Century Fox | | • | Alabama Song (Whisky Bar) | | • | Light My Fire | | • | Back Door Man | | • | I Looked At You | | • | End Of The Night | | • | Take It As It Comes | | • | The End | | • | Moonlight Drive (Version 1) (Bonus) | | • | Moonlight Drive (Version 2) (Bonus) | | • | Indian Summer (8/19/66 Vocal) (Bonus) |
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| Editorial Reviews:
Product Description
CD > POPULAR MUSIC > ROCK
On their 1967 debut album, the Doors more than fulfilled the promise of their infamously challenging gigs around Los Angeles throughout the previous year. Whether belting out a standard like "Back Door Man" or talk-singing such originals as "The Crystal Ship" and "I Looked at You," leather-clad vocalist Jim Morrison exuded both sensuality and menace. The mixture, on the outsize album finale, "The End," helped rewrite the rules on rock song composition. None of this would have worked, though, were it not for the highly visual instrumental work of keyboardist Ray Manzarek, guitarist Robbie Krieger, and drummer John Densmore, whose work on tracks such as "Take It As It Comes" and the lengthy hit "Light My Fire" virtually defined the rock-blues-jazz-classical amalgam that was acid-rock. --Billy Altman
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| Customer Reviews:
Showing reviews 1-5 of 55
 Don't Buy the MP3 Version if You Want the Full Remix! June 30, 2010
popmusicfan (northeastern Ohio)
3 out of 3 found this review helpful
The Doors still makes various lists as one of the most important albums of the rock era, and certainly as one of the best debut albums of the era. The album itself has been reviewed extensively, as have the various CD reissues; therefore, I will limit this review to the download version of it. Since I own the vinyl release of The Doors and wanted to have it available for my iPod without all the crackles and sputters of converting the LP to digital format and didn't feel the need to own the physical CD, I opted for buying Amazon.com's MP3 download. Each of the tracks clearly states "LP Version" in the listing for the download; however, Amazon has inexplicably included only the ineptly truncated single version of "Light My Fire." I feel that this is a complete misrepresentation of the album. Afterall, this is perhaps the best-known song on The Doors. Also, note that unlike the remixed CD that Amazon includes in the same listing as their MP3 version, here you won't find the "missing" lyrics of "Break on Through" and "The End." It is almost as though they have taken the original versions of the songs -- save the single version of "Light My Fire" -- and constructed a semi-remixed MP3 album. The MP3 album's sound quality, though, generally is pretty good, and the songs do seem to have a punchier sound, certainly than on the original vinyl release. Just be warned, the MP3 "album" DOES NOT include all the material from the original album -- the missing 4 minutes of "Light My Fire," is perhaps the best part of the song, especially Ray Manzarek's organ solo and his comping behind Robbie Krieger's guitar solo. I guess that I should have spent the extra dollar and purchased The Doors on iTunes. Be forewarned and don't make the same mistake I made... By the way, be aware that most of the reviews of this album that are included under the heading of MP3 downloads are actually of the CD release. I believe that this may be the only review that specifies the deficiencies in the MP3 version.
 Better than ever... June 27, 2010
TJSTOGY (Dutchess County, NY)
1 out of 1 found this review helpful
First off, I am 23 years old at the writing of this review for the remix. I have been a Doors fan since I was about 14 and know how the reissues sounded very well. I am a fan of crisp sounding audio and I like to hear all the instruments. My biggest gripe with the original Doors recordings was that the drums were barely audible. Especially after listening to some Zeppelin, you want to hear some drums. These new remixes finally bring the drums way up, along with tons of sounds that were lost in the original mixes. For me, this sounds night and day better than the original mixes. I know fans growing up with the original mixes would have mixed feelings (it really sounds different...) but again, for me, this is great. The tracks really kick more than ever. They sound like you're in the room with the band rather than listening to an AM radio. Everything in the mixes sounds punchier, more audible, and just all around like a breath of fresh air. Same goes for the subsequent remixes. Break on Through sounds truly rocking... in the End you can hear Jim screaming F*** 10 times at the end of the song (seriously rock and roll... how could they have left this out!!) I would buy the remix just for these two songs. Someone mentioned the album being a more accurate speed now... I can also tell a difference. Everything sounds a bit sped up (again, better..)
Note*** This album is Remixed, meaning, they alter the levels, or volume, of each of the drum tracks, the vocal tracks, the guitar tracks and the organ tracks (sometimes bass). ReMASTERING is simply changing the levels on the two sides for a stereo situation. Remixing will make an album sound completely different. Remastering doesn't do much. If you like the original recordings, pick up the old remastered cd's, but certainly give these a try too!!
The Doors Masterpiece Debut Album April 26, 2010
Ian Phillips (Bolton, Lancashire, UK)
This classic, totally outstanding album, first released in 1967 on the Elektra label is, undoubtedly, one of the upmost impressive, compelling recordings in rock music history. It is also most certainly one of the very best first-outings by a rock group.
Indeed The Doors were one of the most exciting, influential and controversial rock bands of the swinging sixties with the legendary genius Jim Morrison as The Doors lead singer, Ray Manzarek controlling the spiralling electric organ, John Denmore on drums and Robby Krieger on guirtar. The Doors never actually recruited a bass player so the sound was, endearingly, highlighted by Ray Manzarek's predominant electric organ, providing a hypnotic backdrop for Jim Morrison's captivating vocals, who rides through the inventive musical landscapes with finesse.
The Doors (1967) album introduced the world to their adventurous, startling fusion of rock, blues, classical and jazz. These diverse blend of styles intertwine beautifully with the poetic, often thought-provoking lyrics, making for an incredibly powerful, innovative album that has set standard's for generations.
The albums opener is the belting and thoroughly infectious 'Break On Through (To The Other Side)', one of my personal favourite's. 'Break On Through' was also The Doors debut single release. The propulsive rhythm flows gloriously with notably nifty guirtar work courtesy of Robby Krieger, entwined with Ray Manzarek's bewitching, ever-effective electric organ interludes and incessant, pounding drum beats from John Denmore, not to mention Jim Morrison's rocketing vocals. An extremely credible start to the album and the single deserved far much more commercial recognition than it initially received at the time.
The stomping, thunderous rock of 'Soul Kitchen' is a cracking affair, complemented by Morrison's mesmerising vocal delivery while the beguiling Oriental mystery of 'The Crystal Ship' is a pure masterpiece (as is the entire album), mellowing the mood somewhat.
Beginning with a magical guirtar riff, blended with the customary electric organ, this leads us into another compelling, stomping rock number 'Twentieth Century Fox', while the fun 'Alabama Song (Whisky Bar)' making for an immediately striking and rather diverting experiment. Morrison's deep, sonorous voice pulsates seamlessly through all the enchanting ebbs and flows.
'Light My Fire' is an out and out classic and one of The Doors major landmarks. Hauntingly atmospheric with its funeral-like electric organ backdrop and Morrison's stirring delivery. They enjoyed their first real taste of significant commercial success and acceptance with 'Light My Fire', swiftly topping the US Billboard Chart (though barely dented the UK Top 50 on its original release; upon its re-issue in the summer of 1991 it flew up into the Top 10). The full severn-minute version is a pure sonic masterpiece, allowing us to enjoy the groups ever-dynamic playing. Another utterly mesmerising and hypnotic afair.
The mid-tempo rock number 'Back Door Man' capture's yet more powerful, expert playing, hosting a rich and deep performance from Morrison who also enhances the tremendous and startling production of 'I Looked At You'.
The dreamy, mysterious 'End Of The Night' highlights the groups remarkable affinity for shrewd, poetic, profound lyrics. Beautiful. 'Take It As It Comes' kicks up the tempo again and this held ample commercial potential (as did practically every track on here), while the tinkling 11-minute oedipal drama 'The End' is literally spine-tingling and has to be one of The Doors most daring, compulsive outings that is completely haunting with its non-stop melodicism, dynamic tension and sombre, dreamy tone.
This album is a pure masterpiece, ranking (in my opinion) among their very best, most innovative work. Excellence all the way. It also became a major seller and spending over two years on the US Billboard chart. Essential!
Ian Phillips
April 2010
The BEST premiere album of all time April 23, 2010
rash67 (USA)
2009 update
Spectacular - I wish the 9/9/09 Beatles remaster were this well recorded.
Elektra has re-released all the Doors CDs. They uploaded the master tapes to 24 bit/96khz (nearly SACD quality) and then remapped it back to regular CD format (16bit/44khz). The result is much more dynamic and accurate. If your copy doesn't say 24bit, throw it out and get the new ones. The biggest sonic improvement since the creation of the CD!
There are also some new words missing from previous releases
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The most perfectly realized debut album in Rock history.
I remember it as if it were yesterday. I saw him at Merriweather Post, we thought he was great, but few others did. The concert opened, the band was on stage tuning up without Morrison. After a half hour, the audience was restless and clapping to get Jim out. Suddenly Morrison appeared at the back, shirtless with leather pants and boots. He ran down the hundreds of steps. He hit the stage at full gallop and fell flat on his face. He moaned "ooooh". He moaned more. The other Doors tuned up while he moaned for minutes. A girl in the audience yelled "Why doesn't somebody help him??" Ray Manzarek, the organist, put a microphone down near the groaning Morrison. The band played a "da da da da da da DA" rhythm. Jim laid there, mouth open and moaned "oooooh". Suddenly the Lizard King shot up ten feet straight up in the air and screamed "Ohhhhh Yeah, I'm a Backdoor Man" while the band played that song...
We thought this one and Strange Days were the best albums ever done. Surprisingly enough, The Doors were NOT popular in their time. They had a few hits, Light my Fire, but they did not really achieve the status of Rock Gods until a decade or more after Morrison's death. Most kids thought they were too dark. Too negative.
"What could we but perceived if the Doors of Perception were cleansed?" In the sixties a Rock song writer was not afraid to be literate. He had read Aldous Huxleys book on lysergic acid. He had also read William Blake's description of children in London at the beginning of the Industrial Revolution "Some are born to sweet delight, and some are born to the endless night". He listened to Kurt Weill/Bertold Brecht "Alabama Song" which, among other songs, got them kicked out of Nazi/Weimar Germany for being writing "degenerate" music in the 1930's. Jim Morrison, a product of Alexandria (Virginia's) George Washington High School, was nothing if not literate. (He wrote the lyrics for "Horse Latitudes", about the Spanish conquestadors ship captains tossing out horses to lighten the load when becalmed, as a junior in that High school, or so the story goes. His teacher was not impressed.)
Yeah it's dark. It's visionary, like Baudelaire, I guess that's why the French like him so much they allowed him to be buried in Pere-Lechaise in Paris not that far from Oscar Wilde.
Morrison was a poet, a visionary, a showman. He drank. He had many bad habits, but satanism was not one of them, he would be quite amused to hear that one! He loved the blues and has probably the best version of Willie Dixon's Back Door Man ever done, certainly the most sinister. But that was Morrison, he loved theater, he did things for effect.
I think the Crystal Ship was probably closest to his heart. "The Crystal Ship is being filled, a thousand girls and thousand thrills, a million ways to spend your time..." Music full of nineteenth century, Romantic, Wagnerian Love-Death. Jim just wanted to float away on that Crystal Ship.
I program out his theatrical over-the-top, acting-out, version of Oedipus Rex at "The End". You have some of the finest Rock music of all time. Listening to "The End" on a quality hifi will reveal there is a loud inarticulate scream, but later, in the newest release, there is some, umm, bad language bordering on the incestuous.
Not Poetry - Performance February 24, 2010
benshlomo (Los Angeles, CA USA)
1 out of 1 found this review helpful
The name of this group comes from one of at least two sources, both of which Jim Morrison referenced during his lifetime. One source is Aldous Huxley, who in the course of his investigations of human consciousness referred to "the doors of perception". The other source is William Blake, the English poet, engraver and seer, who once said "There are things that are known and things that are unknown, and in between there are doors." You could make a case for either of these phrases as the real expression of this band's heart, but which one is the true one? Morrison and the rest of them left that ambiguous. Figures.
It's next to impossible now to see the Doors clearly through the haze of myth that's built up around them (whether they wanted it that way or not), but there's no doubt that as a group they were more interested in questions than answers. Their first album provided no certainty or consistent categorization whatsoever. They covered classic blues and pre-World War II German theatrical songs, their originals mixed romance and self-destruction for maybe the first time in pop music, and of course the last number of this record combines music and poetry in a way that the Beats never imagined no matter how much speed they took. No way to get a grip on them. If it weren't for the fact that Morrison made a pretty good sex symbol, the audience would have hated this bunch.
Or maybe not, come to think of it. The Doors always played hard and melodic, and they had a very distinctive sound no matter what tune they had in hand. This is partly because, as many others have noted, they did not employ a bass guitarist, a strategy that leaves in the musical bed a definite, often spooky hollowness that works well with their lyrical themes. So quite apart from Morrison's showmanship, the Doors produced the kind of excitement that only the best rock music ever gets to.
And then there are those lyrical themes. Rock had moved away from love-song restrictions long before the Doors came along, of course, but it took this band to show everyone just how far away you could get. It's there right from the first minutes - there's a percussion sound that combines jazz and flamenco, then in comes a groaning single-note organ line and a roaring rhythm guitar that pushes the listener's attention much faster than almost anything that had come before, and then Morrison bellows "You know the day destroys the night / Night divides the day". If rock music can contend with metaphysics in this manner, and make you like it, nothing is off limits.
But all of this has been pretty much settled in the 40-plus years since "The Doors" hit the record stores - you still hear "Light My Fire" on classic rock radio, after all. I, for one, wanted to look at this record again because some critics have taken to denouncing the Doors and Jim Morrison as self-indulgent, crass, and just plain bad. Dave Marsh once called this band the most overrated in history and declared that anyone who didn't think so must suffer from "a truly terminal case of arrested adolescence". Wow. Did these guys put one over on the lot of us?
Things did get a little silly in the Doors camp from time to time, no question about it. What can you say about some of the images in the lyrics to "The End"? What exactly did Jim Morrison mean when he groaned "Weird scenes inside the gold mine" and stuff like that? The phrase must have had some significance - it was used as the title of a greatest hits collection a few years later - but it's got nothing to do with anything surrounding it, comes from nowhere, doesn't develop and never comes up again. There are plenty of such images on this album and in subsequent work by this band, I suppose because Morrison considered himself a poet and got into rock to combine poetry with music, like Patti Smith did a few years later with a little more success. Which only goes to prove what has been pointed out for centuries - it takes more to be a poet than simply thinking that's what you are.
At the same time - and this, I think, is where Dave Marsh and some others miss the boat - there's more to album-oriented rock than the lyrics, or even the music. Roger Ebert famously said that a movie is never about what it's about, but rather about _how_ it's about what it's about, and the same thing can be said for the Doors. The album isn't just about the music and lyrics, which in other hands might very well have fallen apart into parody or worse - it's about what this band does with the music and lyrics.
To be specific, on this album the Doors came up with some songs, both originals and covers, occasionally indulging in some over-the-top lyrics and musical ideas, but developed a style of play that convinced. It sounds dark and mysterious with frequent bursts of passion, the musical equivalent of a long, dangerous, but intriguing journey. Jim Morrison was the most visible of the Doors by several orders of magnitude, and he had one of the most distinctive voices in rock, but without the other three he himself admitted that he turned into a sort of clown. You might look at the cover of this album and assume it's a picture of the other three band members being consumed by Morrison's large presence - then again, you might see it as the three of them giving rise to him.
In short, it's the performances that make this album so good, which may explain why so few other musicians cover this material - even the Doors themselves seldom reached this level of quality in later years. Then again, most people don't get there even once.
Benshlomo says, It's the singer, not the song.
Showing reviews 1-5 of 55
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