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Performer: The Doors
Engineer: Bruce Botnick
Producer: Paul A. Rothchild
Distributor: WEA (distr)

Notes: The Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums). Additional personnel: Larry Knechtel (bass). Recorded at Sunset Sound Recorders, Hollywood, California. The Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (piano, organ, bass); John Densmore (drums). Recorded at Sunset Sound Recorders, Hollywood, California in September 1966. Originally released on Electra (74007). Digitally remastered by Steve Hoffman. The first Doors album was an important development in the evolution of rock, representing the dark underbelly of the '60s counterculture, the Jekyll to the Beatles/Beach Boys' Hyde. The Doors were the antithesis of windblown Californian pop. Dark, brooding and alienated, every element of the quartet's metier was unveiled on their debut album. In Jim Morrison they posessed one of rock's authoritative voices, while the group's dense instrumental prowess reflected his lyrical mystery. Highly literate, they wedded Oedipian tragedy with counter-culture nihlism and, in "Light My Fire", expressed exotic images previously unheard in pop. Howlin' Wolf, Brecht and Weill are acknowledged as musical reference points, a conflict between the physical and cerebral that give THE DOORS its undiluted tension. Or you can just enjoy it as a brilliant album that sucks you in as it breathes out the '60's. The Doors were the antithesis of windblown Californian pop. Dark, brooding and alienated, every element of the quartet's metier was unveiled on their debut album. In Jim Morrison they posessed one of rock's authoritative voices, while the group's dense instrumental prowess reflected his lyrical mystery. Highly literate, they wedded Oedipian tragedy with counter-culture nihlism and, in "Light My Fire", expressed exotic images previously unheard in pop. Howlin' Wolf, Brecht and Weill are acknowledged as musical reference points, a conflict between the physical and cerebral that give THE DOORS its undiluted tension. Or you can just enjoy it as a brilliant album that sucks you in as it breathes out the '60's.

Rolling Stone (5/1/03, p.59) - 5 stars out of 5 - Included in "The Rolling Stone Hall Of Fame" - "...A stoned, immaculate classic..." Q (1/03, p.54) - Included in Q Magazine's "100 Greatest Albums Ever" Q (11/00, p.124) - 4 stars out of 5 - "...Still their best album, a blurt of American Gothic teenybop, containing both the pop hit 'Light My Fire' and the mum-shagging epic 'The End'..." Q (1/03, p.54) - Included in Q Magazine's "100 Greatest Albums Ever" Q (11/00, p.124) - 4 stars out of 5 - "...Still their best album, a blurt of American Gothic teenybop, containing both the pop hit 'Light My Fire' and the mum-shagging epic 'The End'..." Down Beat (p.69) - 4.5 stars out of 5 -- "Surrealism and dark existentialism pervade The Doors' debut disc, a tour de force of brilliant pop songwriting." NME (Magazine) (10/2/93, p.29) - Ranked #25 in NME's list of the 'Greatest Albums Of All Time.' NME (Magazine) (10/2/93, p.29) - Ranked #25 in NME's list of the 'Greatest Albums Of All Time.'

Like a trippier, more mystical, West Coast equivalent of the Velvet Underground, the Doors went against the 1960s flower-power grain, taking an uncompromising look at the underbelly of the American psyche. Jim Morrison's dark, surreal poetry gave the band's blues-based rock a cerebral edge, and his wild, shamanistic on-stage presence electrified audiences. From their debut single, "Light My Fire," to their later recordings such as "Riders on the Storm," the Doors remained consistently intriguing even when their songs didn't, a feat largely credited to Morrison and his violatile personality. Eventually, Morrison's hard living caught up to him--he died in Paris at only 27 years of age, leaving behind a legacy that would inspire countless younger musicians.

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