Break Through 'The Doors'
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Break Through 'The Doors' - Christopher Goulart
Break Through ‘The Doors’
© 2013 by Christopher Goulart
E-Book Distribution: XinXii
http://www.xinxii.com
All Rights Reserved. No part of this publication may be reproduced in any form or by any means, including scanning, photocopying, or otherwise without prior written permission of the copyright holder.
The Doors
Morrison and Manzarek, acquaintances from the UCLA Graduate School of Film, conceived the group at a 1965 meeting on a Southern California beach. After Morrison recited one of his poems, Moonlight Drive,
Manzarek — who had studied classical piano as a child and played in Rick and the Ravens, a UCLA blues band — suggested they collaborate on songs. Manzarek's brothers, Rick and Jim, served as guitarists until Manzarek met John Densmore, who brought in Robby Krieger; both had been members of the Psychedelic Rangers. Morrison christened the band the Doors, from William Blake via Aldous Huxley's book on mescaline, The Doors of Perception.
The Doors soon recorded a demo tape, and in the summer of 1966 they began working as the house band at the Whisky-a-Go-Go, a gig that ended four months later when they were fired for performing the explicitly Oedipal The End,
one of Morrison's many songs that included dramatic recitations. By then Jac Holzman of Elektra Records had been convinced by Arthur Lee of Love to sign the band.
An edited version of Krieger's Light My Fire
from the Doors' debut album (Number Two, 1967) became a Number One hit in 1967, while progressive
FM radio played (and analyzed) The End.
The band's two sides came to a head during their 1967 appearance on The Ed Sullivan show when Morrison kept the word higher
in the lyrics to Light My Fire
despite the show's request to remove it (whether it was intentional or not remains up to debate). Sullivan banned them from making future appearances.
Morrison's image as the embodiment of dark psychological impulses was established quickly, even as he was being featured in such teen magazines as 16. Strange Days (Number Three, 1967) and Waiting for the Sun (Number One, 1968) both included hit singles and became best-selling albums. Waiting for the Sun also marked the first appearance of Morrison's mythic alter ego, the Lizard King, in a poem printed inside the record jacket entitled The Celebration of the Lizard King.
Though part of the poem was used as lyrics for Not to Touch the Earth,
a complete Celebration
didn't appear on record until