Remind me of you van morrison full#

I never liked the image of Jim Morrison as the Poet, Lizard King, or drunk. I didn't exactly turn sour on The Doors, but I felt that I grew out of them. In that sense, they remind me of the classic Manfred Mann in their approach to pop songs, but in a jazz musician's approach to that style or medium. That is the unique strength of The Doors. To me, they sound like a jazz band than a rock group.

Perhaps due to John Densmore's jazz-like drumming, Robby Krieger's exotic touches, and Ray Manzarek's jazzy approach to the melodies. It doesn't feel like a genuine relationship to me, in that The Doors' true nature is to do ballads and European songs. I don't relate to The Doors doing the blues or rock n' roll. He would have been a natural match to those classic songs of mood and romance. If he lived, I would hope that he would have stayed in Paris and become a chanson singer, telling narratives through songs. Like Sinatra, Morrison can express a tender form of communication that is sexual as well as romantic. It was until recently that I became aware of the Frank Sinatra touch to Jim's vocal talents. I recalled seeing him in Topanga Canyon in a Volkswagon by himself drinking from a brown bag. Like Jerry Lee Lewis, Little Richard, Vince Taylor, and Gene Vincent, there was something indecent about Morrison's presence in the world. I think mainly due to Jim Morrison's voice and iconic sensibility. In that sense, they were not that different from The Velvet Underground, but of course, The Doors were more successful and commercial. Of all the bands, The Doors were among the entranceway to a less kind and more violent world.

Remind me of you van morrison full#

The Sixties were wild and fun but also full of tension and a feeling that everything will collapse spectacularly, and by 1969, you can feel the bummer in the air. Still, all the boys and girls naturally understood the implications. As I got older and found myself in a world of desire, I understood Jim's voice like a siren to surrender your hesitance to be loved in a difficult to articulate manner. When you're twelve or thirteen, hearing a man wearing leather pants, and to me, resembling a Marlon Brando at his most 'Wild One' stance in life, well, it's very impressive for a young tot. What impressed me then as a teenager, and even now, the quality of Morrison's voice and how he relayed the words dramatically and profoundly. Jim Morrison gave the song the perfect theatrical touch. She played the record there when I stayed with her on the weekends. Not only did that album played consistently in our household, but my German Grandmother had the same album. My first aural memory is hearing Lotte Lenya singing that song on an album devoted to the theater songs by her husband, Weil, and Brecht. I remember them doing an extended version of Light My Fire, but I was mostly impressed that they did a version of a Kurt Weil/Bertolt Brecht song Alabama Song. I'm pretty sure that this performance was before their first album came out because it was the first time I heard their music. I can see Van's lips and mouth moving from the audience, but the rest of his body was like a petrified rock. The sounds they were making were brilliant, and the voice of Van was, of course, magnificent. Them, with Van Morrison, was extremely moody, and I got the impression that they were not happy to do a show at three in the afternoon. I couldn't get enough of Them's Gloria, Here Comes The Night, but especially the creepy and sensual Mystic Eyes. I was either eleven or twelve years old, and for a short time, the Whisky had matinee performances for all ages, as long as they were with an adult. My dad took me to see the band Them at the Whisky on the Sunset Strip. At the height of my teenage years, The Doors were very much part of my landscape.

I appreciate the band The Doors more than I love them.