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“I don't play just one-two-three-four. I try to play melodies. When we're improvising in the middle of a tune, I may try to answer something the organ or guitar has played.” – John Densmore to Hit Parader in 1967.
“I don't play just one-two-three-four. I try to play melodies. When we're improvising in the middle of a tune, I may try to answer something the organ or...
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Announcing: The Doors Digital Festival!

Each weekend for the next eight weeks, The Doors Digital Festival will unlock one classic Doors concert film for fans to stream and watch for free!

We are kicking off “The Doors Digital Festival” with the legendary remastered concert film “Live at The Bowl '68”. Watch it FREE for the next 48 hours on Qello Concerts on all devices! Watch Now: http://qelloconcerts.com/vip/the-doors
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Good :)
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thedoors

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Arizona Memorial Coliseum: February 17th, 1968.
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Who has visited the Poet's monument in Venice Beach?
Venice Beach holds a special place in rock 'n' roll history as the birthplace of the band the Doors. ;
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“Like a million people have done, my parents gave me piano lessons when I was eight or nine. For the first couple of years I really didn't like it — until I heard some blues.” – Ray Manzarek on developing his musical skills
“Like a million people have done, my parents gave me piano lessons when I was eight or nine. For the first couple of years I really didn't like it —...
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The greatest keyboard player of all time never heard a better set of keys in my life, this man could play R.I.P. Mr.Manzarek
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“What else does "Alive, She Cried" teach us? That Jim Morrison's speaking voice was eerily like Phil Ochs. That, like almost every other late '60s band, The Doors dug wailing on some 12-bar blues: the version of ‘Little Red Rooster’ here has John Sebastian on harmonica, and darned if the slidin'n'rollin' of Krieger and Manzarek isn't a pre-echo of the Bros. Allman.” –Mitchell Cohen, Creem Magazine
“What else does "Alive, She Cried" teach us? That Jim Morrison's speaking voice was eerily like Phil Ochs. That, like almost every other late '60s band,...
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I love them live :)
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Have them in circles
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thedoors

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“…And their secret weapon was a shy, spacey physics student named Robby Krieger. A flamenco guitarist who had been playing electric guitar for only six months when he joined the band, Krieger had a marvelous melodic knack.” –Guitar World, February 2003.
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The Doors self-titled debut is on sale at iTunes this week. Get it mastered for iTunes for only $6.99!
http://smarturl.it/TheDoors
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Top notch :)
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An oral history of the scene surrounding The Doors in Laurel Canyon:
Joni Mitchell, Cameron Crowe, and Stephen Stills remember the legendary California Music Scene.
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“My wild love is crazy/
She screams like a bird/
She moans like a cat/
When she wants to be heard.”
-The Doors “My Wild Love”
Listen: https://www.thedoors.com/discography/songs/my-wild-love-607

Photo from the Valley Music Theater, Los Angeles, CA
“My wild love is crazy/ She screams like a bird/ She moans like a cat/ When she wants to be heard.” -The Doors “My Wild Love” Listen:...
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Community discussion: What is your favorite book about The Doors?
Community discussion: What is your favorite book about The Doors?
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Jim Morrison- Stephen Davis

Riders On the Storm- John Densmore
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On Tour with The Doors: The Doors at the Carousel Theatre in West Covina, CA January 19th & 20th 1968.

Thanks to MildEquator for the photo.
On Tour with The Doors: The Doors at the Carousel Theatre in West Covina, CA January 19th & 20th 1968. Thanks to MildEquator for the photo.
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The official Google + for the legendary band, The Doors.
Introduction
With an intoxicating, genre-blending sound, provocative and uncompromising songs, and the mesmerizing power of singer Jim Morrison's poetry and presence, The Doors had a transformative impact not only on popular music but on popular culture.

The Doors' arrival on the rock scene in 1967 marked not only the start of a string of hit singles and albums that would become stone classics, but also of something much bigger - a new and deeper relationship between creators and audience. Refusing to be mere entertainers, the Los Angeles quartet relentlessly challenged, confronted and inspired their fans, leaping headfirst into the heart of darkness while other bands warbled about peace and love. Though they've had scores of imitators, there's never been another band quite like them. And 40 years after their debut album, The Doors' music and legacy are more influential than ever before.

Morrison's mystical command of the frontman role may be the iconic heart of The Doors, but the group's extraordinary power would hardly have been possible without the virtuosic keyboard tapestries of Ray Manzarek, the gritty, expressive fretwork of guitarist Robby Krieger and the supple, dynamically rich grooves of drummer John Densmore. From baroque art-rock to jazz-infused pop to gutbucket blues, the band's instrumental triad could navigate any musical territory with aplomb - and all three contributed mightily as songwriters.

The group was born when Morrison and Manzarek - who'd met at UCLA's film school - met again, unexpectedly, on the beach in Venice, CA, during the summer of 1965. Though he'd never intended to be a singer, Morrison was invited to join Manzarek's group Rick and the Ravens on the strength of his poetry. Krieger and Densmore, who’d played together in the band Psychedelic Rangers, were recruited soon thereafter; though several bassists auditioned of the new collective, none could furnish the bottom end as effectively as Manzarek's left hand. Taking their name from Aldous Huxley's psychotropic monograph The Doors of Perception, the band signed to Elektra Records following a now-legendary gig at the Whisky-a-Go-Go on the Sunset Strip.

Their eponymous first album, released in January 1967, kicked off with "Break on Through (to the Other Side)" and also featured the chart smash "Light My Fire", the scorching "Back Door Man" and the visionary masterpiece "The End". The Doors arrived fully formed, capable of rocking the pop charts and the avant-garde with one staggering disc. Before '67 was over, they'd issued the ambitious follow-up Strange Days, with such gems as "Love Me Two Times", "People
Are Strange" and "When the Music's Over".

Next came 1968's Waiting for the Sun, boasting "Hello, I Love You", "Love Street" and "Five to One". Over the next few years they minded over new territory on such albums as 1969's The Soft Parade (featuring "Touch Me" and "Tell All the People"), 1970's Morrison Hotel (which includes "Roadhouse Blues", "Peace Frog" and "Queen of the Highway") and 1971's L.A. Woman (boasting "Rider's on the Storm", "Love Her Madly" and the title track).

They released six studio albums in all, as well as a live album and a compilation, before Morrison's death in 1971. their electrifying achievements in the studio and onstage were unmatched in the annals of rock; and though Morrison's death meant the end of an era, Manzarek, Krieger and Densmore collaborated on two more original Doors albums, Other Voices and Full Circle, and a set of tracks they composed to accompany Morrison's 1969 recording of his poetry, released in 1978 as An American Prayer. They also pursued individual music projects, books, theatrical productions and other enterprises - and remain restlessly creative to this day.

In the decades since the Doors' heyday, the foursome has loomed ever larger in the pantheon of rock - and they remain a touchstone of insurrectionary culture for writers, activists, visual artists and other creative communities. Their songs, featured in an ever-increasing number of films, TV shows, video games and remixes, always sound uncannily contemporary. No matter how the musical and cultural tides turn, The Doors will always be ready to help a new wave of listeners break on through to the other side.