Emerging in the mid-1960s and leaving an indelible mark on the world of music, The Doors remain one of the most iconic bands of all time. Known for their unique blend of rock, blues and psychedelia, they were pioneers in their genre, daring to explore unconventional themes often delving into the realms of philosophy, mysticism and the human psyche. Jim Morrison’s untimely death in 1971 contributed to the band’s aura and the security of their legacy. As with some of my other ranking pieces, my introduction to each album and my personal resonance with them has played a part in their placement. I consider the top six to all be great albums and the top four to be bona fide classics – the gaps between the last quartet being small indeed.
9: Full Circle (1972)
Full Circle - the second album to be released after the death of their charismatic frontman – marks a departure from the band, incorporating increased elements of jazz and funk. This experimentation (complete with terrible album cover) was met with a mixed reaction as many fans missed the poetic lyricism and vocal style of Morrison. Full Circle highlighted The Doors’ willingness to evolve but offered little evidence of the band’s musical magic and even the best tracks on the album did not match up to the quality of anything the band had produced as a quartet. It would be another six years before The Doors regrouped to produce An American Prayer.
Three favourite tracks: Verdilac, The Mosquito, The Piano Bird
8: Other Voices (1972)
Released just six months after L.A. Woman, Other Voices is a far more cohesive entity than its successor. There are early signs of the development that was to come on Full Circle; however, much of the music was written when the band was still working on music for Morrison to add his lyrics and vocals. Some of the tracks appear that they would lend themselves to his vocal tendencies but this means any time spent listening to this album leaves you wishing for his appearance. Considering the band had lost their talisman so recently, Other Voices is a valiant effort but with one piece of their magical jigsaw missing, it falls short.
Three favourite tracks: In The Eye of The Sun, Tightrope Ride, Hang On To Your Life
7: An American Prayer (1978)
This gained life when Manzerak, Krieger and Densmore agreed to add music to the poetry recordings made by Morrison in 1969 and 1970. Earning The Doors’ their only Grammy nomination, An American Prayer was included in the category for Best Spoken Word, Documentary or Drama Recording. When it works well, An American Prayer is melancholic, haunting and ethereal. It is not a perfect album – there are moments that appear little more than the band jamming in slightly aimless fashion making sure there is enough music for the album - but it did more than enough to demonstrate that the presence of Morrison (albeit it reciting poetry – a skill of his which is vastly underrated) made for a more enticing album than anything without him.
Three favourite tracks: Ghost Song, An American Prayer, A Feast of Friends
6: The Soft Parade (1969)
It is almost impossible to imagine – whichever your favourite might be – that anyone’s list of albums by The Doors would not contain all the albums made when Morrison was alive. Although The Soft Parade was saturated with brass, overwhelming strings and inconsistent experimentation, there are still some moments during which they seem to meld more effectively – on Touch Me for example. Lacking the consistency of any other album released with Morrison – who at this time had already been drinking heavily for some time – The Soft Parade would lead The Doors to go back to basics with their next album and in the process, produce another masterpiece.
Three favourite songs: Tell All The People, Touch Me, Wild Child
5: Waiting For The Sun (1968)
On their third album, The Doors began to move away from their previous psychedelia and lean towards a softer more mainstream rock sound. Originally slated to contain the epic The Celebration of the Lizard King, the band drew on a combination of previously unused material and new compositions. Stylistically sprawling, while still heavily featuring the innovative guitar work of Robby Krieger and Morrison’s distinctive inventiveness, the album is thematically less unified than either Strange Days or their self-titled debut. Nevertheless, Waiting For The Sun was well received, giving the band their only number one album.
Three favourite songs: Hello I Love You, Love Street, Five To One
4: Strange Days (1967)
The fact that an album as consistently brilliant as Strange Days should be placed at number four is testament to the rich vein of quality that runs through the band’s discography. Released during the same year as their debut – at a time when releasing two albums a year was not at all unusual - Strange Days is less bluesy than much of their output, focussing on hard-hitting, effective, shorter tracks, with the exception of the magnificent When The Music’s Over - which takes up almost a third of the album’s running time. However, the album is still testament to The Doors’ versatility and cemented their reputation as avant-garde visionaries. It is an unflinching reflection of the era’s social unrest and the band’s own artistic ambitions, creating a time capsule of late 1960s zeitgeist.
Three favourite tracks: Strange Days, You're Lost Little Girl, When The Music’s Over
3: The Doors (1967)
A release which tops many lists of albums by The Doors, the debut has earned its place amongst the best debut albums ever recorded. A potent blend of psychedelic rock, blues and Morrison’s imaginative lyrics, it set the stage for their future success and displayed their unique and innovative sound. With extended solos, Morrison’s intense and confrontational performance style combined with the band’s departure from the sun-soaked pop dominating the airwaves, it stands a landmark in rock history. Produced by Paul A. Rothchild, The Doors captures the live energy of the band while adding layers of sound to enhance the overall aesthetic and is meticulously crafted.
Three favourite tracks: Break On Through (To The Other Side), Light My Fire, ...The End
2: L.A. Woman (1971)
Released in April 1971, LA Woman represents further development of the bluesy roots the band had returned to on Morrison Hotel but also a maturing sound that encapsulated the weariness and changing tides of the early 1970s. Oozing with the warmth of Los Angeles and the simmering unrest of the era, LA Woman serves as a swan song for Morrison’s tumultuous tenure as frontman. There is a gritty, visceral attitude across the album and it remains the band’s most emotionally resonant offering, crammed with Morrison’s howling vocals, Krieger’s fiery guitar licks and Manzerak’s evocative keyboards. LA Woman is incredibly cohesive with shorter, catchier songs like Love Her Madly balancing with the haunting atmospheres of other tracks including Riders On The Storm.
Three favourite tracks: The Changeling, L.A. Woman, Riders On The Storm
1: Morrison Hotel (1970)
Coming at a pivotal moment for The Doors when the band was grappling with external and internal pressures and the mixed reception of The Soft Parade, Morrison Hotel was a concerted effort to return to their blues and rock roots. Well received and credited with revitalising the band’s career and credibility in the music industry, the album’s critical and commercial success attracted new listeners and re-energised those who had been alienated by the band’s previous experimentation. Split between the two sides entitled Hard Rock Café and Morrison Hotel, the album is a metaphorical journey through the dualities of life that The Doors navigated so well – light and dark, introspection and rebellion, and chaos and beauty.
Three favourite tracks: Roadhouse Blues, Peace Frog, Blue Sunday
Written: January 2024
Listen to my playlist The Doors Through The Years featuring my three favourite songs from each album in chronological order below.
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