The Cavern
Rock & Words
THE SOFT PARADE (The Doors, 1969)
Artist: The Doors (B+)
Recording Dates: Oct ’68 – Abr ‘69
Release Date: July 18th, 1969. USA
Record Label: Elektra Records
Producer: Paul A. Rotchild
Rating: 8
Era: Psychedelia (1966-1969)
Subgenre: Acid Rock
Best Song: The Soft Parade
Tracklist: 1) Tell All The People; 2) Touch Me; 3) Shaman's Blues; 4) Do It; 5) Easy Ride; 6) Wild Child; 7) Runnin' Blue; 8) Wishful Sinful; 9) The Soft Parade.
This is a difficult album because it has some good songs, which are generally ignored or even unknown to non-fans, but it also has some very bad and forgettable ones. The truth is, it's almost entirely Robbie Krieger's album; it's the band album in which he's most involved as the main composer and arranger, and he even tries his hand at singing on the verses of " Runnin ' Blue." The other half of the material is Jim's, but it's not at his best compositionally, perhaps because by that time he was already struggling with severe alcoholism, had the publication of a couple of poetry books in mind, and was also very distracted by the beginning of his legal troubles stemming from the Miami incident. Incidentally, this is the first LP where the song credits aren't under The Doors ' name , but rather the individual composer. This is because in "Tell All the People," composed by Krieger, Jim disagreed with the phrase " Can't you See me growing , get your guns ,” and wanted to distance himself from it. A bit hypocritical considering the line “Better bring your " gun " from the song that titles the album and is written by Jim, although in the shouting and disorder in which he sings it, it is barely noticeable.
In short, the album is difficult, since on the one hand it has complex and experimental material (“The Soft Parade” is perhaps the most complex song in the Doors ' discography ), and on the other hand it has very light songs, with orchestrations and brass inclusions (which were panned by fans of the dark sound of previous albums, although curiously “Touch Me,” the best representative of this brighter sound, was a chart success). Ray doesn't shine; he also seems distracted and not fully engaged with the album, and the truth is that it seems they released it more out of obligation to the record label than because they had any material, extending the “Third Album Syndrome” to this fourth installment.
But it's not all bad. While I agree with most who say this is one of the Doors ' two weakest albums as a quartet (depending on your mood , this one or Waiting for the Sun), it's not a bad album. The Doors never really released a bad album, but it is one of their least impressive, and it has some weak songs by Doors standards . But if we consider them pop songs, it's actually much better pop than almost any other band was making at that time… and frankly, it blows any pop album out of the water. Although there are horns, violins, orchestras, entire choirs, and instruments that aren't traditional for the band, they not only take the risk of changing their sound, but they generally pull it off well, combining them with the melodies and, in a way, recreating Phil Spector's "Wall of Sound ." Otherwise, the songs would have been less interesting. Can you imagine "Touch Me" without horns? Incidentally, this song and “Tell All The People” feature great melodies, very bright and optimistic, something that Doors songs usually lack (although they master the dark sound better, there's no denying it). And then, at the end, there's the band's most underrated epic song: “The Soft Parade” joins those colossal closers from the first two albums, “The End” with its Oedipus complexes and “ When The Music's Over” with its apocalyptic atmosphere. Afterwards, “Riders On The Storm” will be another classic epic that closes the sixth album. “The Soft Parade” is every bit as good as any of those classic tracks, and yet it's unjustly forgotten and relegated, with that delicious multi-part complexity that goes from a recited poem and a lullaby to an orgasmic finale with countless voices singing at once.
This is where, with nothing more to add about the album, I should move on to the songs. But I'd like to pause for a moment on the Miami incident, not because I enjoy gossip or because this blog focuses more on scandalous entertainment news than on the music itself, but because I believe the information has been largely inaccurate. The event influenced the album's sound, and ultimately, the trial and legal troubles plunged Jim into a depression that led him to self-exile in Paris and become addicted to hard drugs. The story goes that on the night of March 1, 1969, at the Dinner Key Auditorium in Miami, the Doors were performing for the first time in Florida, where Jim spent part of his childhood. The story goes that halfway through the concert, Morrison, blinded by his status as a sex symbol, as the leader of his generation, and by a feeling of invulnerability, lost in the clutches of drugs and alcohol, exposed himself in front of the crowd and incited violence. Even the great Oliver Stone alludes to this myth in the film.
According to Jerry Hopkins, in the book "Nobody Gets Out of Here Alive," which includes direct interviews with the other band members and Pamela Curson, it wasn't exactly like that. Jim had gone months earlier to a performance art piece at the Bouvard Auditorium . It was a performance by the European company Living Theatre , in which, without a pre-established script , they guided the audience to shed the inhibitions and social constraints that conditioned their behavior and feelings. During the performance, the actors removed their clothing, and without explicitly inviting the audience to do the same until they were left in their underwear, never completely naked. This is emphasized because the underwear they were left in was a symbol of the social prohibition of nudity. Jim was deeply impressed, experiencing a sense of freedom he hadn't felt since fame had found him.
Jim didn't want to be the leader of the social revolution that the hippie movement was brewing, but if it was going to happen anyway, he wanted to be a part of it. So, influenced by the Living Theatre , he chose the Miami date to share what he had experienced with the public. From the start, he seemed nervous, and his nervousness rubbed off on his bandmates. The band was already an hour late, so the crowd was fired up. They started with "Break On Through ," but Jim interrupted it several times. I'm transcribing Morrison's words exactly as reported by Hopkins:
“Now listen to me, I’m not talking about no revolution, I’m not talking about not protesting, I’m talking about having a good time, I’m talking about having a good time this summer. Everybody, come to LA, get out of here, let’s lie on the sand and bury our toes in the ocean, and let’s have a good time. Are you ready, are you ready, are you ready, ARE YOU READY?”
Then they performed “Backdoor Man”, but Jim interrupted her again.
“Now listen to me! I used to think this was all a big joke. I used to think it was something to laugh about. Then these last few nights I met some people who were doing something! They were trying to change the world! I want to join that journey! I want to change the world. Change it. Yesssss … change it.”
Ray and Robbie tried to restart the song, but after a few minutes, Jim stopped them again.
“Now listen to me, I’m not talking about no revolution, I’m not talking about not protesting. I’m talking about having fun! I’m talking about dancing! I want to see everyone up and dancing! I want to see you dancing in the streets this summer! I want to see you having fun. I want to see you running around. I want to see you painting the city. I want to see you making noise. I want to see you shouting. I want to see fun. I want to see YOUR fun!!!”
Then he changed his tone again when he saw that he wasn't getting the expected result.
"You're a bunch of slaves, you're a bunch of fucking idiots! Where's your freedom? You let people dominate you. How long is that going to last, huh? How long are you going to let them walk all over you? Or maybe that's what you like, maybe you like having your heads buried in shit."
Ray ordered the others to start with “Touch Me,” hoping Jim would shut up, but Morrison exploded: “Hey, wait a minute! Everything’s fucked up, they’ve ruined it. I’m not going to swallow this shit.” Jim started unbuckling his belt and taking off his pants, unsuccessfully trying to emulate the Living Theatre performance , but he was clearly so drunk that everyone present was rather horrified. Jim didn’t usually wear underwear, but on this occasion, he was wearing it. His intention wasn’t to get naked, but to remain in his underwear as in the performance, but the others couldn’t know that. A member of the crew tackled him before he could even completely remove his pants, while the band continued playing in the background. The concert wasn’t stopped; instead, the band continued playing for an hour while Jim chatted with the audience, and at the end, he invited them onto the stage, which turned into a massive riot, and the show had to be ended.
The government initially used the organizers' complaint about the final chaos to attack Jim for inciting public violence, but seeing an opportunity (there were undercover agents who witnessed his attempt to remove his pants), they seized upon that incident to claim he had undressed, exposed his genitals in public, and masturbated on stage. In reality, the attack stemmed from the fact that Jim had become a significant social threat to them, and they even went so far as to call false witnesses—who hadn't even attended the concert—to testify at the trial.
The Miami incident was the beginning of the end that would culminate in Morrison's death in Paris, and it clearly had him very preoccupied with this album, as at times there was a very real possibility of him going to prison for several years. In other words, it wasn't a game the government was playing; they were very serious about Morrison. Now, I'm just a music-loving reviewer, and knowing how impulsive Jim can be, I'm not saying the "official" story is false. I'm simply offering this other version as something to consider.
Now, the album begins with Robbie's "Tell All The People", which is very simple in its lyrics for Jim's style: "Tell all the people what you See - it's Just me! Follow me down ! which is repeated countless times. Jim wasn't entirely comfortable singing it, since, precisely because of the Living Theatre , he wanted to help change the world, but he refused to be a messianic figure as many were beginning to see him, and the lyrics of this song didn't help much. The song is incredibly melodic, with very classy passages that sound like Sinatra in the few verses, with very cute little pianos and a majestic horn section. As I mentioned, it's not common on Doors albums , but they managed to give that trumpet intro a biblical feel . A very classical orchestration, which repeats at the one-minute mark and basically takes the place of the solo , against the minimalist arrangements of Ray (a very simple little piano ) and Robbie (strumming and just a few high notes at the end). It's not the Doors ' best and it's somewhat repetitive, but it's a more than decent pop song.
Next up is “Touch Me”, another Krieger song, very simple but more appealing, with a faster tempo and, again, excellent orchestration. This was the album's first single and its only hit, becoming one of the band's classics. It begins with an ascending keyboard scale as an intro , and the horns enter almost simultaneously with Jim. The choral orchestration is very cheesy (I can just imagine Sinatra singing this part again), but at the one-minute mark, they create a sort of ascending bridge where they remember to build tension before returning to “ C'mon , C'mon , C'mon Touch me baby.” Jim thought the lyrics were very stupid , and in some concerts, he changed them to “Cum on , cum on , cum on , suck me baby!” In any case, Densmore is colossal on drums, Jim pulls out all the stops to make the song work, and at 2:27 they manage to build instrumental tension again in the background while there's a very jazzy and well-executed sax solo . Finally, the song closes with four very distinct chords that should already be etched into the collective unconscious.
We continue with “Shaman's Blues”, a psychedelic track by Jim that recaptures the menacing tone of their early albums, with Robbie delivering a great performance on screeching guitar. It's a good, hypnotic song, featuring a keyboard solo (finally!) with harpsichord effects and Jim delivering his signature cryptic lyrics. At 3:10, there's a false ending from which they return in a bombastic fashion. This is one of those tracks that no one pays much attention to, but it's very well done, a hidden gem in the band's discography.
Next up is “Do It”, credited to Morrison and Krieger. And neither of them manages to make it memorable. A very bland, repetitive song, without any hooks, that only serves to reinforce Jim's bad-boy image. The chorus is repeated countless times , so much so that from so much “ Please” "Please Listen to the Children " makes you want to smack the first child you see. John sounds spectacular again, but he alone can't save the song, which is bad by Doors standards , but it's not the worst on the album.
Then comes "Easy Ride", a song that's half country, half rock & roll, and it doesn't work at all because it's not a style that suits the band. The track is playful, with a fast rhythm, completely lacking the dark sound and menacing atmosphere of the Doors . Utterly forgettable.
Fortunately, "Wild Child" arrives with an absolutely colossal riff—dark, vibrant, simple, yet achieving a deliciously breathtaking effect. Here again, they play with intensity, building tension, changing tones, delivering massive solos, and reaching a climax . Jim sounds comfortable in his vocal performance, confident and menacing. Kudos to Robbie, who does a great job on guitar. This is another song that elevates the album, although it didn't quite reach classic status.
“Runnin ' Blue” is one of those tracks that gives the album a bad reputation. It's another flirtation with country in the verses (sung by Robbie) mixed with a carnival-like, cabaret-style atmosphere. The lyrics are unbearably idiotic, dedicated to Otis Redding. The horns this time sound aimless and out of place, and they fail to salvage the song. Nothing. Absolutely nothing. This song not only offers nothing, but it's unbearable, and thankfully it's only 2:20 long.
“Wishful Sinful" suffers the same fate. Boring, with cheesy orchestration that doesn't suit The Doors , Robbie listlessly playing slow chord progressions without any effort, no explosions, not even a hint of tension... Even a false ending at 1:40 that fails to work, simply because nobody wants it to continue.
Fortunately, the album ends with a masterpiece, “The Soft Parade”, one of the Doors ' great epic closers . Jim is back to his darkest state, showcasing his monstrous side, the suspense, the theatricality… the creation of tension is at its peak, the multi-part structure resulting in the most complex song in their discography at 8:30, forming a kind of mini-suite . When the Doors make a mistake, they really make it, as in the previous two tracks, but when they're at their best, they create immense works like this one. The song begins with the famous poem recitation By Jim: “When I was back in seminary school, there was a person there who put forth the proposition that you can petition the Lord with prayer… petition the Lord with prayer… petition the Lord with prayer… YOU CANNOT PETITION THE LORD WITH PRAYER!” In this fragment, generally known as “ Petition the Lord with Prayer,” Jim impersonates a priest and truly overwhelms in the final verses. At :35, he begins a section with hapsichord , giving the sound a Renaissance feel. The fragment is known as “ Sanctuary ” because of the line “Can you Give me sanctuary , I must “ Find a place to hide ,” referring to his legal troubles with a dark and utterly pessimistic tone. At 1:30, the song takes a complete turn, with a fast and playful beat, a psychedelic atmosphere, great guitar riffs, and vibrant keyboard effects. Robbie delivers some good mini-solos while Ray lays down a bass line that moves quickly up and down. At 2:20, another change, with a playful keyboard slowing the tempo like a children's song. An excellent way to work the song. At 3:05, there's another change, with a monumental bass line, somewhere between funky and dark, bluesier guitars , and Jim announcing, “ This is the best " Part of the trip ," quite rightly so. Ray and Robbie take turns soloing while John plays a delightful drum solo. This section is now truly "The Soft Parade," and from there the song continues to grow and become more complex. Slowly, more and more Jims are added as the solos intertwine, creating more and more tension, and more and more Jims, and the bass line… Wow ! At the 7-minute mark, the 10 or 12 Jims that have been added recite together and then each sing separately, some shouting, others whispering, achieving an apocalyptic and enormous coda, reaching a climax without us even realizing when it happened. At 8:10, the Jims suddenly disappear, leaving only one reciting, heavy with echo: " When all else es failed , we can rip the horses ' eyes and make them sleep ”, to immediately end with a fade Out . Impressive. The song is also very rhythmic for the most part, but without losing the darkness and menace typical of The Doors . A work of art , very underestimated .
Anyway, there are a couple of truly awful tracks, but the rest is decent. Two or three are quite good, almost on par with their early albums, and there's one that's among the band's best. So it's not as bad as many critics claim. At least they're not complacent or aiming for the blatantly pop sound of * Waiting for the Sun*, so I think an 8 is fair. Like I said, we can't expect a band to release only perfect 10 albums, nor can we demonize the slightly weaker ones, nor complain later that a band's sound isn't evolving. Of course, it's not the Doors ' peak , but the album has some very interesting elements that make it worth a listen, and who knows? You might be pleasantly surprised.
By Corvan
Feb/8/2010
