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5 of 5 people found the following review helpful
5.0 out of 5 stars The year was 1967, and rock was king
The Doors were a number of bands that had seminal releases in that magical year of 1967, which was the height of the Sixties cultural phenomenon. To fully appreciate the splendour of this album one most have at least a passing knowledge of what was happening in the music world at that time. This was the single most creative year in rock history. During the Summer of Love,...
Published on 17 Oct. 2007 by Mike London

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48 of 58 people found the following review helpful
1.0 out of 5 stars Great LP ruined by a revisionist remix
The first Doors LP is great, of course, but the remix proposed in this new edition is bad, wacky and non-sense: why remaster a CD which did not need improvement? (Well, we all know that the answer begins with an M and finishes O-N-E-Y, but let us not be so suspicious).
If the official cause for this new publication is that voilà! they have magically found a...
Published on 19 Mar. 2010 by Tognato MARCO


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5 of 5 people found the following review helpful
5.0 out of 5 stars The year was 1967, and rock was king, 17 Oct. 2007
This review is from: The Doors (Audio CD)
The Doors were a number of bands that had seminal releases in that magical year of 1967, which was the height of the Sixties cultural phenomenon. To fully appreciate the splendour of this album one most have at least a passing knowledge of what was happening in the music world at that time. This was the single most creative year in rock history. During the Summer of Love, Sgt Pepper was released (Magical Mystery Tour, while not a proper album, was also released later that year) by The Beatles.. Hendrix's Are You Experienced and Axis: Bold as Love was released, also so was Pink Floyd's debut with original singer Sid Barrett. The Grateful Dead debuted that year. Jefferson Airplane released Surrealistic Pillow. Cream released Disraeli Gears. Buffalo Springfield released their debut and the Again record that year. The Who Sell Out came out. The Velvet Underground with Nico with Andy Warhol was released also. Arlo Guthry also released Alice's Restaurant that year (the title cut as legendary and long as Iron Butterfly's In-a-Gadda-Da-Vida). The Beach Boys' Smile, the most famous unfinished album of rock history, was slated for release this year, but it fell apart after Wilson thought the Beatles topped them in Sgt Pepper. Fleetwood Mac also formed in 1967. And The Doors released this album, and Strange Days.

Also, in that magical year of music and culture, we get this, a stunning document of a superb band. Not only that, it was their debut. As I detailed in the paragraph above, several important albums were released this year of '67. The Doors were up against some very tough competition. But they shine, do they ever shine. You know you're in for a treat as soon as Break on Thru starts. Then it transcends into a funky song called Soul Kitchen (a song about sex, perhaps?). The Crystal Ship is a great, if drug related, song. (Crystal Ship=drug syringe). And what band do you possibly know that can make a song originally from a German Opera fit into a rock album? That is exactly what The Doors did with this one by including The Alabama Song. Light My Fire was of course an instant classic and their biggest hit (along with Touch Me). The interesting thing about that was they were expecting Twentieth Century Fox to be the big hit, and didn't expect anything off Light My Fire. Unfortunately, have been unable to find the single version on any of their (now) official releases. They cover the Blues (Back Door Man), do strait and pure rock n' roll (Take it Easy, Break on Thru), and fit in literary allusions (End of the Night part of it is originally, I think, Emerson's poetry. I might be wrong, but it is one of the more famous poets). Of course, there is the epic The End, suitably placed at the end of the album (imagine that!). With this break thru song, Morrison the poet really shines. This is the song that Morrison screamed, tho' edited for official release, he wanted to kill his father and f- his mother. Another literary illusion to Oedipus, and also Freud. Because of the unedited live lyrics, this song drew them to the attention of Paul Rothchild, their then future producer. It got them thrown out of Whiskey A Go-Go, which is a legendary rock club in California.

Given the other albums released that year, it makes this record all the more exceptional. Extreme musical innovation and experimentation were obvious everywhere that year, not the least in this album, it is amazing to hear this record. Obviously, if they can stand up against the very stiff competition of that year, they had to be doing something right.

From a personal perspective, this is a deeply sentimental album. This is what got me into The Doors. Morrison's poetry inspired me to try some of my own. I am no where near the poet he was, and mine just seem insipid and pale compared next to his. That is because I am not a poet, but a fiction writer. The first seven songs are very special when the whole of Side I is played. It reminds me of days gone by. The End is classic. Sadly, The Doors never reached this height again (Strange Days is a psychedelic masterpiece however.) Waiting for the Sung and Soft Parade are their two lackluster albums; Soft Parade being a failed Sgt Pepper. Then they scoured back hard with two bluesy albums. But this will always be my favorite.

Originally issued on Amazon.com January 13, 2000
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2 of 2 people found the following review helpful
5.0 out of 5 stars The Doors by The Doors, 40th anniversary edtion., 25 July 2012
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First I must say that I'm not a die hard Doors-fan, but nevertheless I greatly enjoy their first and by far their, in my opinion, best album. I have not listened closely to the other editions of this album so I cannot say that this or that is really different. But what I can say is that there is nothing here that sounds unnatural, like, for instance, the first ZZ Top remixes of their 70's albums. And also, I think it makes sense to let people hear the original lyrics to some of the songs, as in "Break on through", where there is a line of the lyrics where Jimbo on the original releases has been edited to sing "she gets" three times, which doesn't make any sense. Now you can hear the whole phrase as it is supposed to be ("she gets high", makes more sense), whithout being artistically limited by the morals of the day. A small detail one might think but still a great improvement in my opinion. There are a few other similar improvements, as you might hear. Other is that the instrumentation is much clearer of course, and if there has been changes to include alternate solos instead of the originals, for instance, I would also as a hardcore fan be pissed of, and if that is so I can't tell since I've never owned any of the first editions. All I can say is that this edition sounds as clear and crystal an album recorded in the sixties may sound. Oh yes, another change to be done is the speed correction of the music, which to me is not super obvious (so now you can acctually play along without detuning your guitar), but might sound weird to someone who has been listening to the original outputs of this album for forty years. I will nevertheless think of the speed correction as an improvement since it originally was a default caused by the limitations of the technique available back in the mid 60's.

I give this edition my recommendations.
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1 of 1 people found the following review helpful
5.0 out of 5 stars Still Unique, 45 Years On, 8 Aug. 2012
By 
Keith M - See all my reviews
(TOP 500 REVIEWER)   
This review is from: The Doors (Audio CD)
The Doors' 1967 debut album is a truly astonishing piece of music, sounding, for me, just as fresh and original nearly half a century after its recording. Of course, the unique sound of this band was the result of a number of key factors, not least the amazing vocals from front man Jim Morrison, whose ability to switch between lyrical, floating harmonies and scorching yelps and screams has not been matched since. But we shouldn't forget that the remainder of the band produced one of the tightest sounds of any band, all underpinned by John Densmore's superlative drumming, Bobby Krieger's brilliantly judged guitar playing (just the right mix of the subtle and the soaring - the latter amply demonstrated in his magnificent solo during Light My Fire - no need for prog-rock pyrotechnics here), and (driving the band's unique sound) Ray Manzarek's keyboarding skills, whose sound is right to the fore, frequently replacing (what ordinarily would be) guitar parts. The band's resulting (keyboard-led) sound has never been equalled, though it has clearly influenced many bands, ranging from Doors' contemporaries such as Iron Butterfly through to punk's own The Stranglers.

This debut album also demonstrated that the band were not to be limited to a single musical style, but instead showcased their own influences and heritage, such as on the two non-original songs here, Kurt Weill's jaunty, Cabaret-style Alabama Song and Willie Dixon's blues standard, and provocatively titled, Back Door Man. Apparently, this latter song was a live favourite of the band and you can see why with Manzarek's hypnotic keyboard riff and Morrison's impassioned and increasingly manic vocals.

The album opens with (possibly) my all-time favourite Doors song, Break On Through (To The Other Side). It is not possible for me to listen to this song's beginning without goose-pimples going down my back, as the band begin to play (in the order) Densmore then Manzarek then Krieger, before Morrison's echo-laden vocal intones, 'You know the day destroys the night, night divides the day....' - simply magic. A towering album opener to rank with the very best ever (Thunder Road, Like A Rolling Stone, Five Years, Sunday Morning, etc). The band's blues influences shine through again on Soul Kitchen and Twentieth Century Fox, whilst I Looked At You and Take It As It Comes are near-perfect pop songs which could (should) have been massive selling singles. In terms of Morrison's most ethereal vocal performances here, for me, these are delivered on the sublime ballads End Of The Night and The Crystal Ship (the latter also featuring one of Morrison's most poetic lyrics, 'Before you slip into unconsciousness, I'd like to have another kiss').

But, I guess, the album's two (most widely) acknowledged masterpieces are the concluding songs on each 'side' (in old vinyl parlance). Light My Fire is simply one of the most finely constructed songs in all music - the highlight for me probably being Krieger's solo - whilst the 11-minute epic The End is as audacious a way to end an album as any I've heard (answers on a postcard, please), and will forever conjure up the (admittedly sad) image of US helicopters napalming they know not what. It's powerful stuff.

It really is difficult to find any fault with this enduring masterpiece.
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1 of 1 people found the following review helpful
5.0 out of 5 stars The Year was 1967, and Rock was king, 8 Jan. 2012
[NOTE: I am reissuing my Amazon.com reviews on Amazon.co.uk. This review was originally published on Amazon.com January 13, 2000 and also March 6, 2000

[The Year was 1967, and Rock was king., January 13, 2000]
[In the magical year of 1967 The Doors came out!, March 6, 2000]]

The Doors were a number of bands that had seminal releases in that magical year of 1967, which was the height of the Sixties cultural phenomenon. To fully appreciate the splendour of this album one most have at least a passing knowledge of what was happening in the music world at that time. This was the single most creative year in rock history. During the Summer of Love, Sgt Pepper was released (Magical Mystery Tour, while not a proper album, was also released later that year) by The Beatles.. Hendrix's Are You Experienced and Axis: Bold as Love was released, also so was Pink Floyd's debut with original singer Sid Barrett. The Grateful Dead debuted that year. Jefferson Airplane released Surrealistic Pillow. Cream released Disraeli Gears. Buffalo Springfield released their debut and the Again record that year. The Who Sell Out came out. The Velvet Underground with Nico with Andy Warhol was released also. Arlo Guthry also released Alice's Restaurant that year (the title cut as legendary and long as Iron Butterfly's In-a-Gadda-Da-Vida). The Beach Boys' Smile, the most famous unfinished album of rock history, was slated for release this year, but it fell apart after Wilson thought the Beatles topped them in Sgt Pepper. Fleetwood Mac also formed in 1967. And The Doors released this album, and Strange Days.
Also, in that magical year of music and culture, we get this, a stunning document of a superb band. Not only that, it was their debut. As I detailed in the paragraph above, several important albums were released this year of '67. The Doors were up against some very tough competition. But they shine, do they ever shine. You know you're in for a treat as soon as Break on Thru starts. Then it transcends into a funky song called Soul Kitchen (a song about sex, perhaps?). The Crystal Ship is a great, if drug related, song. (Crystal Ship=drug syringe). And what band do you possibly know that can make a song originally from a German Opera fit into a rock album? That is exactly what The Doors did with this one by including The Alabama Song. Light My Fire was of course an instant classic and their biggest hit (along with Touch Me). The interesting thing about that was they were expecting Twentieth Century Fox to be the big hit, and didn't expect anything off Light My Fire. Unfortunately, have been unable to find the single version on any of their (now) official releases. They cover the Blues (Back Door Man), do strait and pure rock n' roll (Take it Easy, Break on Thru), and fit in literary allusions (End of the Night part of it is originally, I think, Emerson's poetry. I might be wrong, but it is one of the more famous poets). Of course, there is the epic The End, suitably placed at the end of the album (imagine that!). With this break thru song, Morrison the poet really shines. This is the song that Morrison screamed, tho' edited for official release, he wanted to kill his father and f- his mother. Another literary illusion to Oedipus, and also Freud. Because of the unedited live lyrics, this song drew them to the attention of Paul Rothchild, their then future producer. It got them thrown out of Whiskey A Go-Go, which is a legendary rock club in California.

Given the other albums released that year, it makes this record all the more exceptional. Extreme musical innovation and experimentation were obvious everywhere that year, not the least in this album, it is amazing to hear this record. Obviously, if they can stand up against the very stiff competition of that year, they had to be doing something right.

From a personal perspective, this is a deeply sentimental album. This is what got me into The Doors. Morrison's poetry inspired me to try some of my own. I am no where near the poet he was, and mine just seem insipid and pale compared next to his. That is because I am not a poet, but a fiction writer. The first seven songs are very special when the whole of Side I is played. It reminds me of days gone by. The End is classic. Sadly, The Doors never reached this height again (Strange Days is a psychedelic masterpiece however.) Waiting for the Sung and Soft Parade are their two lackluster albums; Soft Parade being a failed Sgt Pepper. Then they scoured back hard with two bluesy albums. But this will always be my favorite.
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54 of 62 people found the following review helpful
4.0 out of 5 stars Why Not?, 5 May 2007
This latest series of Doors remasters represent the second upgrading of the band's legacy....by common consent, the very first Doors CDs were streets ahead of the needle-drop, unremastered, tinny products that customers were ripped off by in the early CD age....my 1990 CD of 'L.A. Woman' still sounds great and I've no plans to change it.
The quality may have something to do with the fact that the Doors original albums were so well engineered in the first place....they always did sound ahead of the game, with gleaming, up-front production, beautifully recorded guitars and keyboards and resonant percussion.
There was a previous upgrade in 1999, which improved the bass frequencies; and now we have this latest, and most controversial, Doors edition.
The booklet warns you that you won't be hearing the original 1967 album; that's because the master tapes have been remixed to give new emphasis to certain instruments; plus some new Morrison vocal tracks are used, most notably on 'The End'.
Naturally, some people have objected to this...why not leave it as it was? And whilst I sympathise with that viewpoint, having heard this CD, I have to say I'm not about to make the same objection. Firstly, the sound is magnifiscent: the debut was always the cheapest-sounding Doors album, being done on 2-track equipment. Now, whilst it still sounds cheap compared to say, Morrison Hotel or The Soft Parade, the sound is glossier and fuller...and the remixes do have a 'new light through old windows' effect on the listener, which is not at all off-putting.
The bonus tracks are also very welcome (it was where the last set of remasters fell down, as the Doors' albums tended to be a bit on the short side)and, at budget price, there is no reason not to pick this one up.
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8 of 9 people found the following review helpful
5.0 out of 5 stars One of the all time greatest debut's, 9 Feb. 2004
This review is from: The Doors (Audio CD)
11 tracks and 11 classics from one of the greatest debut albums of all time. Jim Morrison and Ray Manzarek from the beginning must have realised that to live up to this album would have been a near impossible task.
Break on Through is a truly beautiful album starter and from the start you get the feeling of what the doors were all about. The sublime Light My Fire remains the stand out track of the album, partly down to Manzareks majestry in the first 15 seconds. In The End is also a fine way to end a fine album, the Lizard Kings slides from word to word beautifully.
This album also contains a few less epic gems, Alabama Song, a perfect post Jack Daniels track and Soul Kitchen will always freeze my spine.
Encapture the life of one of the greatest and own this album. Go on Ride The Storm
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1 of 1 people found the following review helpful
5.0 out of 5 stars A berserk step into musical significance, 15 Oct. 2002
By A Customer
This review is from: The Doors (Audio CD)
This debut album is one of the finest records of all time, so much so that its very existence caused problems for its creators, as they struggled to equal it again with their following albums. "Break On Through", "Twentieth Century Fox" and "Take It As It Comes" showed a superb ability to create perpetually powerful rock songs, whilst "Soul Kitchen", "The Crystal Ship" and "End Of The Night" showed a desire to be taken seriously as dramatic poets, forever making sure they would not be seen as just another rock band.
The album's two key highlights though, are "Light My Fire", a superb hit single that mixed erotic fantasies with intense musical prowess (Will Young has helped to ruin it recently, though, with his hollow, disgustingly awful version), and "The End", the band's apocalyptic epic that sweeps and dives through hypnotic, trance like beauty.
Few albums will ever have the same tense, gritty power as The Doors managed here, which is a lasting tribute to their brilliance.
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1 of 1 people found the following review helpful
5.0 out of 5 stars genius of the 20th century, 13 Feb. 2003
By A Customer
This review is from: The Doors (Audio CD)
listening to the album one can understand why Jim Morrison refused to be introduced as Jim Morrison and The Doors - the work of all of the members of the band created, moulded and defined the album that would be considered one of the greatest of the last century. the unbelievable, breakthtaking raw and dark power of the opening track cannot be explained in words until you listen to it giving it your full attention, volume high, in an almost trance-like state. the not-trying-too-hard coolness of 20th century fox, the forever-mimicked light my fire, and not to mention the often misunderstood, atmospheric, soul-consuming meditation that is the end - i cant get enough of the doors. for a greater appreciation of the man, the band and the era listen while reading either of Danny Sugerman's books - its like you are almost there.
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1 of 1 people found the following review helpful
5.0 out of 5 stars The Doors [expanded] [40th anniversary mixes], 1 May 2013
By 
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An album I used to have on vinyl, and wanted, no desired to have in my possession once again. In many ways their best album, from "Break On Through", onwards it's a vital band setting out their wares, the dark joys of love and passion. If you're new to this invigorating, thought inducing rock music, as valid now as it was then, this is the place to start a whole new side of musical adventures. Jim Morrison will challenge you, Ray Manzarak will astound you with his provision of a bass guitar from an organ keyboard, John Densmore the drumming attack, and Robbie Kreiger, wow listen to that guitar, Try it, reward yourself, to one of the best bands to tour this planet.
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20 of 24 people found the following review helpful
5.0 out of 5 stars The Doors' debut album breaks on through to the other side, 3 Oct. 2004
By 
Lawrance Bernabo (The Zenith City, Duluth, Minnesota) - See all my reviews
(HALL OF FAME REVIEWER)    (VINE VOICE)   
This review is from: The Doors (Audio CD)
The Doors were probably more controversial than they were influential, but they were certainly one of the signature rock bands of the 1960s. The group was formed in Los Angeles in 1965 by a pair of U.C.L.A. film students, keyboard player Ray Manzarek and vocalist Jim Morrison, along with guitarist Robby Krieger and drummer John Densmore. Because the group did not have a bass player their music was dominated by Manzarek's distinctive electric organ work and Morrison's evocative vocals of his evocative lyrics. Signed a year later to Elektra Records with the goal of capturing on vinyl what the group did in live performance, their self-titled debut album featured the hit "Light My Fire" and because of their distinctive sound became one of the best albums of psychedelic music. In fact, "The Doors" was such a great album that it made everything that came afterwards pale in comparison and gave credence to the idea the group was on a destructive arc fueled by Morrison's personal problems and then went nova with "Morrison Hotel" and "L.A. Women" right before his death.
The music of the Doors was a peculiar blend of rock, blues, classical, jazz, and powerful lyrics. Nobody around played guitar like Krieger, while Manzarek's classical influences showed up in his organ riffs, Densmore brought some Latin influences, and Morrison's lyrics contained moments of searing emotional poetry. From the opening notes of "Break on Through (To the Other Side)" it is clear this group is different. For somebody who was consuming mass quantities of drugs and alcohol, Morrison's lyrics were the sort that students should be discussing in literature class: "I found an island in your arms/A country in your eyes," a love that becomes transmuted into "arms that chain" and "Eyes that lie." Then the song explodes into sound as the band announces its presence with authority. This is such a key song in the history of the Doors that there is reason it leads off most anthologies and collections of their best songs.
"Light My Fire," and I can remember finally getting to listen to the long version having only heard the single version with the impressive, intricate organ solo that still stands alone as the epitome of what can be done with that instrument in a rock song. Then Jose Feliciano proved how good it was in his totally stripped down acoustic version. "Take It As It Comes" is also pretty good, even if not quite in that same class. Still, it is the moodiness of "The Crystal Ship" and the "eleven-minute Oedipal drama" of "The End" that defined the Doors as one of the strangest and most ambitious rock groups around. It is impossible to think of another Sixties rock group that was as disturbing as the Doors, an idea codified in popular culture by Francis Ford Coppola's use of "The End" at the climax of "Apocalypse Now." Not only literature classes but future psychologists and psychiatrists could have a field day analyzing Morrison's lyrics as well.
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