There are those that find Jim Morrison to be a flimsy poetaster, Robby Krieger an egregious six-stringed nightmare, Ray Manzarek a dawdling hunchback of a keyboardist and John Densmore a lifeless militaristic percussionist, but together they were The Doors, and together they were fantastic. This, their debut, is particular striking for its uniqueness as much for its variance in style, not to mention that it sounded nothing like the flower power summer of love kaleidoscope folk music then-currently being peddled. This is not to say it's a dark album -- in fact, I've heard music tailored to sound dark (minor keys, moodscapes, et al) and this album isn't so much dark as it is exploratory. (Run away, kitty cat.) So if you've been living under a tofu plant or you like safe, pleasant music -- this album isn't for you. But I'm sure it is because I don't think I've attracted too many pop fans here. If I have, I've scared them away -- the exception being Chuck, who still likes the Killers, despite my insistence that he please stop. In fact, most reading this probably love this album, sans one person I am quite aware of.
So who's with me in saying that the instrumental they criminally lop off for FM radio in "Light My Fire" is exquisitely awesome; or that "Alabama Song (Whiskey Bar)" is deliciously unsettling in a Brechtian sense; or that, despite your current or past penchants, you vote unanimously that if you were to do drugs, "The End" would be the song that you do them to? I love the drugged feel of "End Of The Night" nearly as much as I love the silliness of "Twentieth Century Fox." Oh, and "Crystal Ship" -- if everyone anyone has a second, please leave a comment if you don't like this song. I'm really curious -- really. I really love that song. Otherwise, maybe they really didn't break on through to the other side, but they did make a helluva great album. And even though I will most assuredly give all their albums (maybe except Morrison Hotel) the same grade, this one is the most deserving. A
