The Doors - Morrison Hotel
The Doors seemed like a very mysterious group to me growing up. Their music contained a mix of straight blues, country, spoken word, rock, psychedelic, swing and R&B. The band did not regularly employ a bass guitar player, which was rare during their time in the late 1960’s and early 1970s. Instead, they had Ray Manzarek, a genius musician who played the organ, piano and tack piano. Manzarek was able to incorporate the bass and the keys together, at the exact same time.
Blues guitarist, Robby Krieger, who always seemed to hold a Gibson SG guitar in his hand was highly underrated, like Manzarek. Krieger had a knack for taking you on a journey with the pluck and a bend of one string, or one note. The note would get your foot tapping, then take your head to the place where the clouds sit.
Drummer, John Densmore added a jazz inspirational style of drumming mixed with African beats – an emotional and spiritual style of striking the drums, previously played in African cultures during times of war, peace, birth and death.
Together these three provide the perfect backdrop for the fourth and final piece that pulls this band together, the Lizard King himself, James Douglas Morrison. “Jim” was and still is a pop star. His face is as recognizable as a Beatle, a Rolling Stone or even Ronald McDonald.
If you have never heard Jim Morrison sing, well you are in for a treat. But my guess is, you have probably heard one of The Doors songs played on the radio at some time in your life.
The reason I wanted to review this album is because with exception of “Roadhouse Blues”, I believe this album contains the least amount of songs that hit the pop charts. Despite the smashing success of their debut album, The Doors’ 1970 release, Morrison Hotel was arguably their strongest. Recorded as their fifth studio album on Elektra Records, Morrison Hotel offers listeners a peek behind the curtain to when the Doors just jammed. There is less psychedelia on this album and more Rock n’ Roll. The band creates numerous blues riffs that guitarist Robby Krieger jams over. Morrison puts his smooth, yet raspy vocals on top to complete the finished product. Morrison Hotel will transform any music fan who was previously not fond of The Doors. Listening to their improvisational, psychedelic musical format will make you a firm believer these guys belong in the Rock n’ Roll Hall of Fame.
The album kicks off with Roadhouse Blues, a bluesy, structured, radio-friendly song that possesses a mystifying ability to make you want to crack open a cocktail open. Roadhouse is a no-frills rock song. Lovin’ Spoonful member, John Sebastian jams along to Morrison’s vocals on the Harmonica. The band lists Sebastian’s name as G. Pugliese on the album. This was a way Sebastian could avoid contract problems with his record company and continue to appear on other band’s records. There is no mistaking the epic riff that flows throughout the entire song. It is not a riff difficult to play, but a masterful creation by Krieger that gets me every time. I have heard this song on the radio north of 1,000 times. Despite being overheard, I crank it up each time.
The album begins to take a slightly dark turn on Waiting for the Sun. Manzarek’s organ is played with aggression. I can certainly see radio stations not playing this, which is why I like it so much. The mixture of organ and Krieger’s plucks of his Gibson SG give way to Jim’s powerful vocals. Morrison really starts to shine on this track. Blare this song in your house and it will definitely scare your dog!
You Make Me Real is the album’s third track. To follow the trend, the circus-like organ offers a different direction than what was on the pop charts in 1970. In order to round out the lower end, the band hired session bassists Ray Neapolitan and Lonnie Mack to offer the foundation and rhythm on the bass guitar. Despite the presence of a bass player on their albums, The Doors never toured with one. With no bass player, they felt it created more space in their music to be experimental. Plus, Ray Manzarek was able to create a bass sound with his keyboard and organ. Watching his hands move at different paces while he crushes both instruments at the same time gives me goosebumps.
Perhaps the album’s best track (perhaps up for debate?) is Peace Frog. Once again, the bass really moves this song and is the riff that guides the entire melody. I can remember hearing this song for the first time thirty years ago. Fresh off purchasing their first album, familiarizing myself with Light My Fire, I heard Peace Frog at a party. I immediately approached the owner of the Aiwa Combo Stereo System and asked, “Is this the Doors”? I did not know this band could get deep and dark, but also kick you in the face with a Rock n’ Roll song. There is nothing better than the stop in the middle of Peace Frog. Suddenly Jim Morrison belts out, ”Blood in the streets in the town of New Haven. Blood stains the roofs and the palm trees of Venice. Blood in my love in the terrible summer. Bloody red sun of fantastic L.A.” Although a bit on the darker side, I find it impossible not to belt these words out when I am driving to this song.
Many would think that the album ends here. Fear not! The fun only begins!
Peace Frog has an abrupt, but powerful ending. It crashes and immediately morphs into Blue Sunday, a soft, slow lullaby. In a complete change of direction, Morrison delivers a love song written to a former flame that got away. For years, there has been controversy over whether Jim wrote this for his longtime girlfriend, Pamela Courson, or if it was for Mary Werbelow, known as Jim’s love that got away. Jim and Mary had a romantic relationship before the band formed in 1965.
Ship of Fools brings you back to the blues. As the song builds, Morrison brings you down and then back up. You feel as if you are down in a hole and then you have climbed back out. They leave the jam, then dive right back into it, providing more evidence The Doors really knew how to improvise.
Land Ho! may be my favorite track on Morrison Hotel. The opening riff, once again, simple but catchy, creates a lift that forces you out of your seat. Suddenly you are tapping, moving, and grooving. You never thought the band that wrote, “The End” could rock like this. I urge you to listen to this album, especially this track. The simple, yet flowing grooves peel back the onion on The Doors. Once you peel, you uncover cosmic waves that fill each ear canal with sound that forces your eyes shut.
The album rounds out with songs such as The Spy and Queen of the Highway, both offering a lyrical journey pumping Morrison’s poetry into two and half minute blues songs. Jim Morrison was not just a song writer; he was a true poet. Despite his emotional challenges, issues with his family and battle with alcohol abuse, Jim could write. He could write like no other.
As I have detailed in previous reviews, there are certain songs that have grabbed me while I was in what I call my “mid-conscious” state. It is that state when you have woken suddenly from deep sleep or a mid afternoon nap, only to hear music in your ears. I swear for a few seconds, I have no idea where I am. I am just a slave to what I am listening to. The words are my reality, until I snap out of it and wake up. Those few seconds of bliss are magical, and I thank God for them. They are difficult to recreate.
The album’s tenth track, Indian Summer falls in this category. It was a mid afternoon nap, after a full day in the sun. I dropped this record into my turntable and fell asleep, only to wake up to Krieger’s underwater guitar sound, Manzarek’s soft keys and Morrison’s voice guiding my intentions.
Before the needle replaces itself on my turntable, The Doors have one more track to finish out the album. Maggie M’Gill completes the “blues sandwich” that is Morrison Hotel. Beginning with a fresh, beer swilling Roadhouse Blues, proving the meat in the middle with Waiting for the Sun, Peace Frog, Land Ho! and Indian Summer, only to put the final piece of bread underneath with “Maggie”. A true, underrated masterpiece.
I enjoy being one of the few Doors fanatics out of my group. Everybody knows, Light My Fire, The End and Break on Through but only few know Grandpa, the whaler, who sailed the frozen sea!
I encourage you to pick up your own copy of Morrison Hotel. Unlike other jam albums, each song is an average of three minutes. They satisfy those who want to listen and get lost, and those with shorter attention spans who want to quickly get their fix and move on!
If you already own Morrison Hotel, grab yourself their debut album or some merch. I strongly recommend the book below, No One Here Gets Out Alive. It tells the true story of Jim’s exploration with drugs, his battle with being a pop star and his eventual death in a bathroom in France.