The Doors (2LP, 45RPM)
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€89,00
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Jim Morrison (vocals), Ray Manzarek (keyboards), John Densmore (drums), Robby Krieger (guitar)
Written by The Doors
2 LPs, gatefold jacket
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 45 RPM
Size : 12"
Stereo
Studio
Record Press : Quality Record Pressings
Label : Analogue Production
Original Label : Elektra
Mastered by Doug Sax, overseen by Bruce Botnick, The Doors producer/engineer.
Debut studio album originally released January 4, 1967.
Originally released in 1967
Reissued in 2012
Tracks
Side A :
- Break On Through (To The Other Side)
- Soul Kitchen
- The Crystal Ship
Side B :
- Twentieth Century Fox
- Alabama Song (Whisky Bar)
Side C :
- Light My Fire
- Back Door Man
- I Looked At You
- End Of The Night
- Take It As It Comes
Side D :
- The End
Awards:
TAS Super LP List! Special Merit: Informal
Rolling Stone 500 Greatest Albums of All Time - Rated 86/500!
Rolling Stone 500 Greatest Songs of All Time - "The End" - Rated 336/500!
Reviews :
« In this edition of the Bob Smeaton-directed audiovisual Classic Albums series, viewers are taken beyond the grooves of the Doors' 1967 self-titled debut long-player. Joining us for the journey are the recollections of many of those who were intimately involved in the creation of the quartet's eponymous platter, namely the three surviving Doors Ray Manzarek (keyboards/vocals), Robbie Krieger (guitar), and John Densmore (percussion). Plus, their manager Bill Siddons, original engineer/producer Bruce Botnick, and Elektra Records' founder Jac Holzman. Also on hand is beat era poet Michael McClure -- who was an admitted influence on Jim Morrison (vocals) and one of the earliest proponents of Morrison's lyrics as pure poetry. Subsequent generations of Los Angeles-based rockers -- most notably Perry Farrell and Henry Rollins -- as well as famed L.A. disc jockey Jim Ladd (aka "The Last DJ") offer up a view of choice insights on the Lizard King. Farrell makes an astute comparison of Morrison's musical guise as a crooner to the likes of Frank Sinatra's world-weary, rode-hard-and-put-up-wet persona. That leads into Botnick's retelling of Morrison's first encounter with a Neumann U4 vocal microphone. A fair amount of screen time is dedicated to Botnick's manipulation of the multitrack tapes as he emphasizes particular instruments such as Densmore's unforgettable samba lick commencing "Break on Through," Morrison's a cappella introduction to "The Crystal Ship," or Manzarek's performance on the Marxophone during "Alabama Song." Additional fascinating insights uncover Krieger's open-tuning, which was incorporated into the ethereal "End of the Night." He also talks about his considerable background playing flamenco-style guitar, which he had taught on a University level. He then launches into the beguiling and haunting introduction to "Spanish Caravan." Other extras of note center around the retelling of how one of Morrison's hallucination-informed incidents nearly sidelined the making of the first LP. Plus, Manzarek's transcendent recollections as "Ray Tells the Story of the Night They Played 'The End' at the Whisky-A-Go-Go." Remarkably revealing is the concluding "John Tells His Tricks of the Trade," which -- despite being a fascinating aside -- might be of specific interest to percussionists rather than casual fans. Which brings up the double-edge that simultaneously blesses and plagues many of the entries in the Classic Albums canon: that being the sheer exclusion of key deep album tracks, presumably by time restrictions. There is nary a mention of "I Looked at You" -- which would have been great for dissection by McClure as opposed to the lengthy supplementary "Michael McClure Reads 'Break on Through (To the Other Side)." Similar dismissals are given to "Take It as It Comes" and "20th Century Fox." That said, one would certainly rather have it "as is" than not at all. » AllMusic Review by Lindsay Planer
"...the amount of detail and space produced here is superior to any version of this that I've heard save for the Elektra original, which is serious competition though good luck finding a clean quiet one. Even then the 45rpm cut's spaciousness, dynamics and bass power and particularly the overall sound on what are the inner tracks on the original LP are better on the double 45 cut using an all vacuum tube chain just as was the original...The double 45 has greater dynamics, detail, spaciousness and appropriate grit - everything the smooooth 192k/24 bit sourced version lacks...Definitely on my recommended list and the Quality Record Pressings vinyl is superb." Michael Fremer, Analog Planet, July 2012
"... Kassem has once again (as with the Impulse 45 RPM series) met the highest of expectations with these (album) covers. The 180 gram platters, housed in QRP rice paper sleeves, are equally impressive, arriving clean, flat and playing silently with nary a pop or tic throughout ... this dead quiet, ultra-dynamic pressing showcases the epic ("The End") bringing out low level detail that simply can't be heard on the already fantastic-sounding Monarch pressing original. ... Immediately upon dropping the needle on the Analogue Productions 45 RPM reissue of Strange Days, you know that you're about to experience something special. ... This 45 RPM pressing gives up none of the emotion or midrange complexity of the original and forces none of the overly tight bass sometimes heard on audiophile reissues in the process. ... This is as good as an audiophile reissue can get and I give it my highest recommendation." — My Vinyl Review
"I received test pressings today for both Morrison Hotel and L.A. Woman. I have to tell you that these are the very best pressings I've heard in many, many moons. Great plating and your compound is so quiet that I clearly heard every fade out to its conclusion with no problem. Doug (Sax) and company did a lovely job, the tapes sound pretty damn good for being almost 50 years old and his system is clearly the best...You should be very proud of what you and your troops are doing." - Bruce Botnick, The Doors producer/engineer
Ratings :
AllMusic : 3.5 / 5 , Rate your Music : 4.1 / 5 , Michael Fremer : Music = 9/11; Sound = 9/11