strange days the doors reviewmsci world ticker

(And it's a clean copy). Bouncy piano and Robby Krieger’s bottleneck guitar provide a sunny, almost tropical atmospheric juxtaposition to Morrison’s sinister vocals and lyrics (“You reach a hand to hold me/But I can’t be your guide”) that end with an implied murder-suicide. “Horse Latitudes” is a spoken word piece that may initially seem out of place but again, “Strange Days” reflects the band’s most creative phase and Jim Morrison truly shined even with this short poetry. It’s fair to say there is no standout single but every song is perfectly singular yet works so well as a whole album listen. It’s all a fascinating grown-up trip down a very dark and twisted rabbit hole.

In the UK, where the first Doors album had been a minor commercial hit but a major critical success, Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute. Alex Leonard’s drums slam with guillotine-like efficiency, and songs often end with the spike of a minor-key chord, providing little comfort after all the tense buildup. Strange Days is a more twisted and mature offering.

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They are not a jazz band either, or a blues band. “My Eyes Have Seen You” offers a quick respite from the other moody tunes. For starters, one cannot help but wonder what a 15-year-old music fan’s reaction would be if he or she heard The Doors for the first time today. ... One must think of the Doors in a theatrical rather than a musical way. The album is defined by surprising positivity in the face of, not only the troubled times of the present, but decades of life on the road.Just as remarkable is the fact that after all this time, Miller and his cohorts don’t sound jaded in the least: The band’s 12th album, predictably titled This backwards-facing view may seem a little on the nose for a band that’s not doing much of anything new musically, once again pairing the plainspoken barroom wit of Miller’s lyrics with Ken Bethea’s revved-up guitar work.

The Doors had a stunning debut thanks to their eponymous LP released in 1967. Posted on November 23, 1967 May 11, 2016 Author Alicia Yaffe.

Check out our album review of Artist's Strange Days on Rolling Stone.com. From eerie to catchy numbers, the band was at their peak when they worked on the LP. Nine months after the release of The Doors self-titled debut, the band upped their game for its follow up. I read somewhere it could be considered the start of Goth, which is a plausible hypothesis. (I Love Him!) Published in Rolling Stone . 12 Billboard hit, returned to the cabaret milieu of The Doors‘ “Alabama Song,” although this time the tune was an original.

Showing a dazzling awareness of their own legend, only appreciated in looking at the growth between their debut and this follow-up, released within a year of each other, The Doors barely adorned the cover of Strange Days with seven carnival players, leaving the band to stare out from a poster on an alley wall. On “Turn off the TV,” which recalls the band’s past forays into power pop, Miller portrays the same sort of dorky pick-up artist who sang one of the best-loved Old 97’s songs, “Barrier Reef”: “Turn off the TV, let’s go back to my room/I’ve got a window with a hell of a view.” On the slow, hazy “I Like You Better,” he compares a paramour favorably with the exact things you’d expect a dude in a cowboy band to love the most: sleeping in, playing guitar, and drinking beer. Or in the case of their debut, a great album overall. By. My comparison for Days is the 1993 DCC Gold Masterdisk, in stereo, and a red label Elektra second pressing (1969). It’s good but not that memorable. I have been a fan of The Doors music since I was about 12 or 13 and have constantly gone back and forth over which is their absolute best album. “You’re Lost Little Girl” is a soft ballad that’s still on the heavy side. He’s caught between his own idealised vision of himself as a hedonistic poet and artist and the earthier expectations of a record company, Elektra, who are about to enjoy the biggest s… ‘Strange Days’ Review – Rolling Stone. He got sober five years ago, which he does address on The track has been transformed from a midtempo pop-funk earworm into a sleek electro-disco gem.Remixed by DJ/producer the Blessed Madonna (formerly the Black Madonna), who also helped curate and mix the entire album, “Levitating” finds Lipa trading verses with Madame X and fellow genre-bender Missy Elliott, whose early-aughts brand of hip-hop famously blurred the lines between rap, R&B, and dance. Please deactivate your ad blocker in order to see our subscription offerWe check over 130 million products every day for the best prices My ear was groomed on the bombast of Sir John Lord et al, sorry. It definitely captured the ’60s sound. on. In late 1967, as Summer's light faded, The Doors released "Strange Days", one of my 2 favorite Doors albums. Everything then comes together with the 11-minute “When the Music’s Over” which showcased The Doors’ impressive musicianship. “We got nothing/But nothing’s good enough for the dropouts,” Miller sings on “The Dropouts,” which might well serve as a decent rallying cry for casualties of the Covid economy.Miller isn’t always so glib though. To show us the way, The Doors gave us this sophisticated strobe light of dimmed hues. You just follow the marks other Doors-fans left to show you the way.

There’s a form to the function, of course. Sal Cinquemani. Unlike The title track sets the mood for the entire LP.

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