The Doors began with a chance meeting between acquaintances Jim Morrison and Ray Manzarek on Venice Beach in July 1965. They recognized each other as they had both attended the UCLA School of Theater, Film and Television. Morrison confided in Manzarek that he had been writing songs.[16] As Morrison would later relate to Jerry Hopkins in Rolling Stone, "Those first five or six songs I wrote, I was just taking notes at a fantastic rock concert that was going on inside my head. And once I'd written the songs, I had to sing them."[17] With Manzarek's encouragement, Morrison sang the opening words of "Moonlight Drive": "Let's swim to the moon, let's climb through the tide, penetrate the evening that the city sleeps to hide." Manzarek was inspired, thinking of the music he could play to accompany these "cool and spooky" lyrics.[18]
Manzarek was then in an unsuccessful band called Rick & the Ravens with his brothers Rick and Jim, while drummer John Densmore was playing with the Psychedelic Rangers and knew Manzarek from meditation classes.[19] Densmore joined the group later in August 1965. Together, they combined varied musical backgrounds, from jazz, rock, blues, and folk music idioms.[20] The five, along with bass player Patty Sullivan,[nb 2] and now christened the Doors, recorded a six-song demo on September 2, 1965, at World Pacific Studios in Los Angeles.[nb 3] The band took their name from the title of Aldous Huxley's book The Doors of Perception, itself derived from a line in William Blake's The Marriage of Heaven and Hell: "If the doors of perception were cleansed, everything would appear to man as it is: infinite".[23][24] In late 1965, after Manzarek's two brothers left, guitarist Robby Krieger joined.[25]
Doors Door 100 Music Download
Download Zip 🔥 https://shoxet.com/2y3ByN 🔥
The Doors recorded their self-titled debut album around August 1966, at Sunset Sound Studios.[31] The record was officially released in the first week of January 1967. It included many popular songs from their repertory, among those, the nearly 12-minute musical drama "The End".[32] In November 1966, Mark Abramson directed a promotional film for the lead single "Break On Through (To the Other Side)". The group also made several television appearances, such as on Shebang, a Los Angeles television show, miming to a playback of "Break On Through".[nb 4] In early 1967, the group appeared on The Clay Cole Show (which aired on Saturday evenings at 6 p.m. on WPIX Channel 11 out of New York City) where they performed their single "Break On Through". Since the single acquired only minor recognition, the band turned to "Light My Fire"; it became the first single from Elektra Records to reach number one on the Billboard Hot 100 singles chart, selling over one million copies.[35]
On August 25, 1967, they appeared on American television, guest-starring on the variety TV series Malibu U, performing "Light My Fire", though they did not appear live. The band is seen on a beach and Morrison is lip-synching the song in playback.[38] The music video did not gain any commercial success and the performance fell into relative obscurity.[39] It was not until they appeared on The Ed Sullivan Show that they gained attention on television.[40]
Although session musician Larry Knechtel had occasionally contributed bass on the band's debut album,[51] Strange Days was the first Doors album recorded with a studio musician, playing bass on the majority of the record, and this continued on all subsequent studio albums.[52] Manzarek explained that his keyboard bass was well-suited for live situations but that it lacked the "articulation" needed for studio recording.[52] Douglass Lubahn played on Strange Days and the next two albums; but the band used several other musicians for this role, often using more than one bassist on the same album. Kerry Magness, Leroy Vinnegar, Harvey Brooks, Ray Neopolitan, Lonnie Mack, Jerry Scheff,[53] Jack Conrad (who played a major role in the post Morrison years touring with the group in 1971 and 1972), Chris Ethridge, Charles Larkey and Leland Sklar are credited as bassists who worked with the band.[54][55]
The Doors' main act was delayed for an hour while Morrison recovered, after which the band took the stage very late. According to music journalist Gillian G. Gaar, the police still did not consider the issue resolved and wanted to charge him. Halfway through the first set, Morrison proceeded to create an improvised song about his experience with the "little man in blue".[59] It was an obscenity-laced account to the audience, describing what had happened backstage and taunting the police, who were surrounding the stage.[65][66] Later, the police lieutenant approached Morrison, during which Morrison thrust the microphone against his mouth and remarked, "Say your thing, man."[60][65] The concert came to an abrupt end when Morrison was dragged from the stage by the police. The audience, already restless from waiting so long for the band to perform, became unruly. Morrison was taken to a local police station, photographed and booked on charges of inciting a riot, indecency and public obscenity. Charges against Morrison, as well as those against three journalists also arrested in the incident (Mike Zwerin, Yvonne Chabrier and Tim Page), were dropped several weeks later for lack of evidence.[58][63]
Recording of the group's third album in April 1968 was marred by tension as a result of Morrison's increasing dependence on alcohol and the rejection of the 17-minute "Celebration of the Lizard" by band producer Paul Rothchild, who considered the work not commercial enough.[67] Approaching the height of their popularity, the Doors played a series of outdoor shows that led to frenzied scenes between fans and police, particularly at Chicago Coliseum on May 10.[68]
Morrison had been drinking all day and had missed connecting flights to Miami. By the time he arrived, drunk, the concert was over an hour late.[75][77] The restless crowd of 12,000, packed into a facility designed to hold 7,000, was subjected to undue silences in Morrison's singing, which strained the music from the beginning of the performance. Morrison had recently attended a play by an experimental acting company the Living Theatre and was inspired by their "antagonistic" style of performance art.[78][79] Morrison taunted the crowd with messages of both love and hate, saying, "Love me. I can't take it no more without no good love. I want some lovin'. Ain't nobody gonna love my ass?" and alternately, "You're all a bunch of fuckin' idiots!" and screaming "What are you gonna do about it?" over and over again.[79][80][77]
While the band was trying faintly to maintain their previous momentum, efforts to expand their sound gave the album an experimental feel, causing critics to attack their musical integrity.[95] According to Densmore in his biography Riders on the Storm, individual writing credits were noted for the first time because of Morrison's reluctance to sing the lyrics of Krieger's song "Tell All the People". Morrison's drinking made him difficult and unreliable, and the recording sessions dragged on for months. Studio costs piled up, and the Doors came close to disintegrating. Despite all this, the album was immensely successful, becoming the band's fourth hit album.[96] By this time, Morrison had become distant from the music and had intended to quit the group, but was persuaded by Manzarek to stay for six more months.[97][98]
On December 8, 1970, his 27th birthday, Morrison recorded another poetry session.[110] Part of this would end up on An American Prayer in 1978 with music, and is currently in the possession of the Courson family.[111] Shortly thereafter, a new tour to promote their upcoming album would comprise only three dates. Two concerts were held in Dallas on December 11. During the Doors' last public performance with Morrison, at The Warehouse in New Orleans, on December 12, 1970, Morrison apparently had a breakdown on stage. Midway through the set he slammed the microphone numerous times into the stage floor until the platform beneath was destroyed, then sat down and refused to perform for the remainder of the show.[112] After the concert, Densmore, Manzarek and Krieger decided to end their live act during their mutual agreement that Morrison was ready to retire from performing.[113][114]
Despite Morrison's conviction and the fallout from their appearance in New Orleans, the Doors set out to reclaim their status as a premier act with the album L.A. Woman, recorded in Los Angeles in 1971.[115] The album included rhythm guitarist Marc Benno on several tracks and prominently featured bassist Jerry Scheff, best known for his work in Elvis Presley's TCB Band. Despite a comparatively low Billboard chart peak at No. 9, L.A. Woman contained two Top 20 hits and went on to be their second bestselling studio album, surpassed in sales only by their debut.[31] The album explored their R&B roots,[116] although during rehearsals they had a falling-out with Paul Rothchild, who was dissatisfied with the band's effort. Denouncing "Love Her Madly" as "cocktail lounge music", he quit and handed the production to Bruce Botnick and the Doors.[91]
The title track and two singles ("Love Her Madly" and "Riders on the Storm") remain mainstays of rock radio programming,[117] with the latter being inducted into the Grammy Hall of Fame for its special significance to recorded music. In the song "L.A. Woman", Morrison makes an anagram of his name to chant "Mr. Mojo Risin".[118] During the sessions, a short clip of the band performing "Crawling King Snake" was filmed. As far as is known, this is the last clip of the Doors performing with Morrison.[119]
The third post-Morrison album, An American Prayer, was released in 1978. It consisted of the band adding musical backing tracks to previously recorded spoken word performances of Morrison reciting his poetry. The record was a commercial success, acquiring a platinum certificate.[133] Two years later, it was nominated for a Grammy Award in the "Spoken Word Album" category, but it ultimately lost to John Gielgud's The Ages of Man.[134] An American Prayer was re-mastered and re-released with bonus tracks in 1995.[135] 2351a5e196
album quicker 6.6 free download
free 777 slots no download no registration
i got a cheat skill in another world and became unrivaled in the real world too download