The Doors Through Strange Days E-Book

Michele Tempera

• Herausgeber: Youcanprint
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2024

Beschreibung

12 chapters about one of the greatest albums in Rock history: The Doors' "Strange Days" (September 1967). Packed with details and insights (more than 180 footnotes), "The Doors Through Strange Days" presents the arrangements, instrumentation, techniques, sound effects, and structure of all the LP's songs. Not forgetting the deep meaning of the lyrics and the interplay between words and music. All instruments and sounds were "deciphered" (in some cases for the first time) with the help of professional musicians. In addition, within each chapter you'll find listening suggestions to specific parts of the songs to supplement the reading. The book follows the evolution of this historic record from its conception to its lesser-known passages, using evocative images and metaphors. The reader will gain access to an unprecedented experience of "Strange Days," discovering its secrets, intensely experiencing its emotions and listening to it in a far more conscious and satisfying way.

Leseprobe

INDEX

FOREWORD

THE SONGS

INTRODUCTION

A SIDE

2. STRANGE DAYS

3. YOU'RE LOST LITTLE GIRL

4. LOVE ME TWO TIMES

5. UNHAPPY GIRL

6. HORSE LATITUDES

7. MOONLIGHT DRIVE

B SIDE

8. PEOPLE ARE STRANGE

9. MY EYES HAVE SEEN YOU

10. I CAN'T SEE YOUR FACE IN MY MIND

11. WHEN THE MUSIC'S OVER

12. WE COULD BE SO GOOD TOGETHER CONCLUSIONS

THANK YOU

Michele Tempera

THE DOORS THROUGH STRANGE DAYS

Title | The Doors Through “Strange Days”

Author | Michele Tempera

ISBN | 9791222746319

© 2024 – All rights reserved to the Author

This work is published directly by the Author through the Youcanprint self-publishing platform and the Author holds all rights to it exclusively. No part of this book can therefore be reproduced without the prior consent of the Author.

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FOREWORD

This writing is addressed firstly to those who are already familiar with The Doors and the “Strange Days” LP, but want to delve into its technical features, emotions and secrets, in order to access an even more satisfying and enjoyable listening experience than they have had until now.

Those unfamiliar with this wonderful LP will be able to approach it knowledgeably and appreciate its nuances, as well as the great musical impact that comes across directly and naturally to anyone who listens to it.

However, the ultimate reason why I wrote this short book goes deeper than that. I wrote it to spread, through the knowledge of the music contained in this enchanting record, the concept of beauty, which, if internalized, is one of the few hopes of giving true meaning to life.

Have a great reading and listening experience!

[email protected]

strangedaysbook.org - more than eighty free articles to get deep inside The Doors music (contents not included in this book).

THE SONGS

A SIDE

1. Strange Days

(3.05min.)

2. You’re Lost Little Girl

(3.01 min.)

3. Love Me Two Times

(3.23 min.)

4. Unhappy Girl

(2.00 min.)

5. Horse Latitudes

(1.30 min.)

6. Moonlight Drive

(3.00 min.)

B SIDE

7. People Are Strange

(2.10 min.)

8. My Eyes Have Seen You

(2.22 min.)

9. I Can’t See Your Face in My Mind

(3.18 min.)

10. When The Music’s Over

(11.00 min.)

All songs (words and music) written by The Doors and included in the album “Strange Days” (1967), Elektra Entertainment. Quotations of verses from the songs have been used only for the purpose of discussion of related topics, to the extent strictly necessary for that purpose.

INTRODUCTION

THE MUSICAL CONTEXT

At the beginning of the mid-1960s, U.S. and British music take on the guise of an artistic "battle" between musical groups, committed to challenging each other by creating increasingly innovative and fascinating melodies, songs and albums. The resulting atmosphere renders this period of the best quality ever experienced in the history of modern music.

In an effort to outdo each other, the greatest musicians who ever lived create a long sequence of works that are as wonderful as they are diverse. In this fertile context many styles and genres flourish in those years on both sides of the Atlantic Ocean. These indelible compositions and artistic heights were never again to be reached in terms of their creative level, rhythmic-melodic taste and lyrics’ poetic content.

In this climate, numerous groups and musical currents emerge, first building their alphabet on blues and rhythm and blues, and then developing their own specific characteristics derived from the pop-rock invented in 1963 by The Beatles.

The infinite possibilities that arise in this context lead to the formation of new idioms, unveiled to the public by brilliant groups and songwriters. Such is the case with rock, which from mid-1965 onwards would deeply mark the history of American, British and world music in its various forms and differentiations.

Bands following this path include The Doors. They quickly become acquainted with the basic elements of the black music with which they take their first steps. Like the majority of mid-1960s ensembles, they too had been crucially inspired by black artists before landing on their personal version of the rock language.

The main features of psychedelia1, introduced in late 1965 once again by the inexhaustible inventiveness of The Beatles, come to complete the sound range that distinguishes the early days of The Doors' career.

The Los Angeles based band forms in the second half of 1965, consisting of Jim Morrison (vocals), Ray Manzarek (electric organ2), Robby Krieger (electric guitar3) and John Densmore (drums4). After about nine months of concerts in California, they obtain a contract with the Elektra record company, and during the last week of August 1966 they get to record their first LP.

The songs on their first album are mostly developed live in the months leading up to the recordings. These tunes are almost always written starting with the poetic lyrics that Morrison sings to the rest of the group which are then elaborated into actual songs through the arrangements and musical structures worked out together by the whole band.

Their first album is simply titled “The Doors” and it is released in early January 1967. The single “Light My Fire”, extrapolated from that LP, is released shortly after (April ’67). Together, these two releases bring the group commercial success in America: “The Doors” reached No. 2 on U.S. charts while “Light My Fire” got to the top spot on the single’s charts. We can see how this album’s enormous importance and shining beauty are still present today.

The LP “The Doors” reliably reflects the sound the band was generating on stage at the time, with almost no special additions made in the studio and employing essentially the same instrumentation used in live performances. Only a few sporadic overdubs are made on the original tracks and the band's intent, which was precisely to make a reproduction of their live shows available to all, is complied with rather faithfully.

Adding to the excellent chart performance is the affirmation of a kind of music that does not compromise to fashion or the supposed tastes of the public, boldly adhering to the true artistic nature of the group. This is an arduous challenge that is brilliantly met with the best recording debut in the history of modern music. In this way, The Doors' original artistic expression succeeds in being appreciated as such, even by the fickle market charts.

STUDIO RECORDINGS

After presenting the first LP at many seminal concerts in the early part of 1967, during the spring of the same year The Doors receive a request from their record company to release a second album.

The band is well placed to respond affirmatively to this invitation due to the presence of a good amount of material ready to be recorded. In fact, they had accumulated several excellent songs with which they were already familiar and which were not included in their first album.

These tunes were by no means second choices and had been excluded from publication mainly due to reasons of space. Complementing them with some compositions written in early 1967, the group thus has no difficulty in quickly recording ten more tracks of great musical value for a second memorable album titled “Strange Days”.

This wonderful follow-up to “The Doors” is also almost entirely composed drawing on Morrison's poetic creations regarding its melodies, lyrics and atmospheres. Crucial to the finished songs, however, are the arrangements and their instrumental execution, masterfully developed by the rest of the group in their astonishing final version.

The recording sessions begin in April 1967, just about four months after the release of the band's first record. With the exception of "My Eyes Have Seen You”, which was completed as early as February 1967, the sessions would continue into the so-called "Summer of love”, concluding about four months later5.

Just after the band arrives at Sunset Sound Studio in Los Angeles to record their second LP, still lacking its final name, a decisive episode steers the direction of the work to come in the months immediately following. The sound engineer, Bruce Botnik, brings along one of the very first copies, in advance of the official release, of The Beatles' historical record “Sgt. Pepper’s Lonely Hearts Club Band”.

This LP would soon prove to be a pivotal influence on the course of modern music, forever changing its structure, perception, and mode of performance. So, Botnik and The Doors listen attentively to “Sgt. Pepper's Lonely Hearts Club Band”, amazed by the overwhelming creative evolutions they hear emanating from the vinyl. They are also thrilled by the innovations that revolutionary album brought to arrangements and recording technique.

It doesn’t take them long to decide to follow the same path, also bringing incisive innovations to their sound and carefully attending to the studio effects applied to it. The group therefore transitions from the first album, recorded practically live in the studio, to “Strange Days”, in which they insert bold experimentation and add abundant sound effects, which at the time were impossible to reproduce during concerts.

They had, as mentioned earlier, initially embraced rock as their own sphere of reference, making it quite varied and original in form and expression. However, the material released in “The Doors” had only moderately incorporated psychedelia in the composition and atmosphere of its songs.6

Excited by the psychedelic pop-rock of “Sgt. Pepper Lonely Hearts Club Band” and other works preceding it7, The Doors then begin to transform the songs on the second album into something more experimental, stepping outside the musical and instrumental patterns they had observed up to that moment.

Three elements dominate this process: the use of a wide range of instruments; colorful and frequent distortions applied to instruments and sometimes to vocals; and the use of numerous overdubs, performed after the main track of the song was recorded, to enrich its overall sound.

It should be noted that the extensive use of hallucinogenic drugs by the group, particularly by Morrison, during 1967 also contributed to the evolution undergone by The Doors' music. It was a habit that the singer had already begun to develop in the previous two years.

The recording studio also played a very significant role in helping the quartet to embark on this path of distortion and sound experimentation. Actually, the Sunset Sound Studio in Los Angeles had just finished upgrading to the latest technology, which attests to its being at the forefront of the industry.

The band thus has first-rate technical support at its disposal, enhanced even more by the expertise of the sound engineer Bruce Botnik. The latter elaborates, from a technical point of view, all the sound effects born from the band's creativity. Hence he must be acknowledged for having transferred to vinyl the ideas and innovations experimented in the creation of the “Strange Days” LP.

Producer Paul Rothchild also deserves to be mentioned, both for the motivation and confidence he conveyed to the group and for the executive rigor he fostered during the recordings.

Even as they thrived in these favorable circumstances, it should be remembered that the preparation of the record required a lot of painstaking work and musical craftsmanship, with the technologies available being much less advanced and reliable than today.

As the studio work progresses "Light My Fire”, the song extrapolated from the first album as a single and shortened from seven to just under three minutes to make it more marketable, climbs the U.S. singles charts. It lands at number one in the USA at the end of July 1967, providing further incentive for the band to produce new, high-level songs on the LP they were developing.

On July 22, 1967, just two months before the second album’s release, Morrison reveals its name by saying, partly excited and partly a bit high, "I think it's going to be Strange Days"8. These words are the answer given to the host of American Bandstand, a widely watched American television program to which they had been invited in the wake of the growing success of "Light My Fire”9.

While recording the album, the group unsparingly performs at about 70 roaring concerts, mostly in California, but also including a period of about twenty days in and around New York City.

These are landmark concerts, particularly because of an increasingly stable experimental presence drawn from jazz that the group incorporates into its peculiar instrumental digressions.