The Doorshave gone through more than their share of ups and downs.Many of those ups and downs came at the hands of their infamous lead singer, Jim Morrison, who accomplished more before his untimely death at just 27 years old than many musicians hope to accomplish in their own lifetimes.
Morrison, alongside Ray Manzarek, John Densmore, and Robby Krieger, pioneered some ofclassic rock’sgreatest hits.Without them, rock music of the last six decades wouldn’t be nearly as prolific as it is. With some of the most famous, or rather infamous, live performances of their era, The Doors were an integral piece of the classic rock puzzle.
The Doors' self-titled debut album is ano-skip albumif I’ve ever heard one; each and every track is deserving of the title of one of their greatest hits. Here areall 11 of those phenomenal, near-perfect songs,painstakingly ranked from worst to best.
11End of the Night
Track 9
If I absolutely had to categorize a lull in this flawless album, it would be the last couple songs before the album’s phenomenal closer. “End of the Night” was the b-side to The Doors' very first single, “Break on Through (To the Other Side),” and as such,was part of the release that the band used to introduce themselves.
“End of the Night” begins with a guitar strum, then Ray Manzarek’s electronic keyboard,both of which combine for a tension-filled introductory sound.When Jim Morrison’s vocals kick in to say, “Take the highway to the end of the night,” the eerie discomfort only heightens from there, maintaining that tension until the end of the song.
Classic Doors, this is a blissfully eerie song,the perfect b-side to accompany the upbeat, almost dance-like debut single.On an album made up entirely of heavy hitters like this one, it’s hard to stand out. With track list placement also a factor, the biggest downfall of “End of the Night” is its place in the track order.
10Take It as It Comes
Track 10
Following the pure eeriness that was “End of the Night,““Take It as It Comes” feels like it exists in the middle of The Doors' sound continuum.Where much of their music is laid back, almost soothing at times, the rest of their music is fantastically creepy, and this song doesn’t quite fit neatly into either of those categories.
There is a phenomenal keyboard solo, but that’s probably the greatest aspect of this song. Jim Morrison’s vocals on this song don’t entirely do justice to his broad range, and the lyrics aren’t his greatest either. They’re simple and sweet, and there is certainly something to be said about that,but they aren’t the sheer poetry that Morrison typically writes.
Sandwiched between two of the more eerie tracks this album has to offer, the lack of tension in “Take It as It Comes” is relatively noticeable. That said,it is the kind of song that automatically has you tapping your feet,and given the ease of the lyrics, it’s one you definitely want to sing along to as well.
9The Crystal Ship
Track 3
“The Crystal Ship” is the second b-side of this album’s singles, released as the b-side to “Light My Fire.” The first three syllables of the first lyric,“Before you slip into unconsciousness,“are sung a cappella, and one can only imagine Jim Morrison’s incredibly close proximity to the microphoneas his deep vocals send chills down your spine.
After the first few syllables, John Densmore’s drums subtly begin to build around Morrison’s vocals, pairing wonderfully with the dreamlike lyrics. For the majority of the song, the drums, guitar, and keys are all fairly subtle,like they are bubbling under the surface just waiting to burst through,though with the vocals entirely at the forefront, they never quite do.
The song is elusive, almost understated at times, but the anticipation is present the whole time.
This song provides a sense of discomfort, especially so early in the track list,but in the best possible way. Knowing how volatile The Doors' music can be at times, it feels like you’re walking on eggshells throughout “The Crystal Ship.” The song is elusive, almost understated at times, but the anticipation is present the whole time.
8I Looked at You
Track 8
I think “I Looked at You” might be the catchiest song on this album—each time I listen to the album in full, it seems this is the song that gets stuck in my head most often.The song begins with John Densmore’s drums, setting the tone for Robby Krieger and Ray Manzarek to start playing, each of them simply coexisting.
When Jim Morrison chimes in and sings,“I looked at you / You looked at me,“it is smooth, unique, andimmediately cements itself in your mind even as he continues singing the rest of the lyrics.Again, this song may not be Morrison’s most poetic lyrical showing, but the simplicity of the words leaves space to focus on his vocals.
Short and sweet,“I Looked at You” is a fun, upbeat, and simply enjoyable earworm.Though it may not be my personal favorite, coming just before the closest thing to a lull that the album has, this song has an undeniable quality that just gives it The Doors' classic sound.
7Back Door Man
Track 7
The second of two covers onThe Doors, “Back Door Man” was originally a blues track written by Willie Dixon for the guitarist and vocalist Howlin' Wolf. While The Doors maintained the basic musical composition, and two verses of lyrics from the original version,Jim Morrison did incorporate some of his own lyrics, ultimately making the cover their own.
Howlin' Wolf’s original recording of the song is textbook blues, and Robby Krieger maintains some of that blues sound with the guitar riff that provides the backbone of the song. Ray Manzarek’s keys follow suit, as do Morrison’s vocals to a degree,though he certainly incorporates more of an erratic, psychedelic sound, too.
Morrison’s throaty vocals on “Back Door Man” may be some of his greatest on the entire album,as this song lends itself perfectly to his entire vocal range.For a cover in a relatively different genre, albeit one by which The Doors have been heavily influenced, The Doors do a fantastic job of making this song their own.
6Soul Kitchen
Track 2
Ray Manzarek’s funky keyboard introduction to “Soul Kitchen” isone of the greatest introductory keyboard riffs of all time.As the second song on the album, and with a ton of leftover energy from “Break on Through (To the Other Side),” this song hits you hard and fast, ramping up even more energy and excitement from the first note.
The introduction lasts almost 30 seconds before Jim Morrison starts singing, andthose 30 seconds are filled with some of the best instrumentals of this album.Manzarek, John Densmore, and Robby Krieger all seem to just be jamming in their own worlds, loosely aware of one another and following each other’s lead, but all ultimately doing their own thing.
All four instruments, vocals included, play the song out as smoothly as they played it in.
Once the vocals begin, the instruments cater to Morrison’s voice,particularly as he sings the outro,“I really want to stay here / All night.“All four instruments, vocals included, play the song out as smoothly as they played it in. “Soul Kitchen” levels out the energy from the previous song, and nicely prepares us for the rest of the album.
5Alabama Song (Whisky Bar)
Track 5
“Alabama Song (Whisky Bar)” is the first cover on this album,a fact that I was both surprised and a bit sad to learn, as it was instantly one of my favorite songs of The Doors' entire body of work. The words were originally written by German poet Bertolt Brecht, and they were set to music by composer Kurt Weill.
Jim Morrison’s theatrical vocals and Ray Manzarek’s big top circus-esque keys make this one of the more unique songs on the album.Though it’s an upbeat track, this song might also be one of the creepier songs onThe Doors,specifically because of lyrics like,“For if we don’t find / The next whiskey bar / I tell you we must die.”
The chorus takes on a different sound entirely, after Manzarek separates it from the verse with a few measures of keys. Where the verses sound accurate to the time the song was recorded,the chorus makes it a bit more clear that this song was actually written in the 1920s,with a more classical, traditional sound.
4Twentieth Century Fox
Track 4
Where the introduction of “Soul Kitchen” was Ray Manzarek’s time to shine,“Twentieth Century Fox” was Robby Krieger’s shot at a groovy guitar introduction.Once he plays a few measures, Jim Morrison comes in with the equally funky"Well she’s fashionably lean / And she’s fashionably late,“kicking off the ode to the women who so often capture Morrison’s lyrical attention.
The chorus is uniquely likable, as Morrison employs a crucial pause in the line,“She’s a, twentieth century fox.“The pause is short, lasting for just two strums of the guitar, butit is clear enough to create a swell of anticipation before Morrison belts out the song’s title.
For the most part, “Twentieth Century Fox” is another relatively subtle song,lacking any major vocal outbursts from Morrison and the guitar solo is fairly tame as well.That compositional quality may not have worked perfectly on songs like “The Crystal Ship,” but it’s precisely what makes “Twentieth Century Fox” one of the best songs on this album.
3Break on Through (To the Other Side)
Track 1
“Break on Through (To the Other Side)” was the album’s opener and lead single, andis about as dynamic as it comes with regard to The Doors' music.Though it did not reach the Billboard Hot 100, the album’s lead single did a great job of providing a sneak peek ofThe Doorsbefore the album was released.
John Densmore’s cymbals, followed by Ray Manzarek’s funky keys, and Robby Krieger’s initial guitar riff immediately bring the energy to this upbeat track.
John Densmore’s cymbals, followed by Ray Manzarek’s funky keys, and Robby Krieger’s initial guitar riff immediately bring the energy to this upbeat track. The instrumental groove lasts just a few seconds before Jim Morrison starts singing, butthe verse consists of just two lines before he launches into the erratic vocal burst of the chorus.
As both the first song on the album and the first song to be released from The Doors' entire career,“Break on Through (To the Other Side)” was a phenomenal way for them to arrive on the music scene as a band.It is fun, funky, fast, and perfectly representative of this album’s—and the band’s overall—sound.
2The End
Track 11
“The End” is an all-encompassing journey of a song,from the composition and the song itself, to its title and placement on the album, and its impact on The Doors' career as a whole. This was the last song The Doors ever played live, at an infamous show in New Orleans in 1970, quite literally marking the end.
The song is almost 12 minutes long, and includes some of the most beautifully poetic lyrics Jim Morrison has ever written. With lyrics like,“Lost in a Roman wilderness of pain / And all the children are insane,“the raw pain and emotion in his words are contained only by Morrison’s rather ironic vocal composure on the recording.
Every single element of this song comes together to create the ultimate eerie finale to close out the album, mesmerizing listeners for the whole 12 minutes.
Where many songs onThe Doorscapture that strange and eerie sound that has become so integral to their music,none of them come close to that of “The End.“Every single element of this song comes together to create the ultimate eerie finale to close out the album, mesmerizing listeners for the whole 12 minutes.
