2007 - 16 songs. Snoop Dogg remix) - The Doors. Break On Through (Infected Mushroom guitar remix) - The Doors. More albums from Infected Mushroom. The Doors Remixed Infected Mushroom. 2007 - 16 canciones. Riders on the Storm (Infected Mushroom remix) - The Doors. People Are Strange (Infected Mushroom. En este MIX les presento lo mejor de la banda The Doors, espero sea de su agrado. 0:00 Light My Fire 2. 2:55 Break On Through (To The Other Sid. The Doors is the debut album by the American rock band the Doors.Recorded in 1966 at Sunset Sound Recorders, Hollywood, California, it was produced by Paul A. Rothchild and released on January 4, 1967. The album features their breakthrough single 'Light My Fire' and the lengthy song 'The End' with its Oedipal spoken word section.The Doors has been inducted into the Grammy Hall of Fame; 'Light. Listen free to Infected Mushroom – The Doors Remixed (Riders On The Storm (Infected Mushroom Remix), People Are Strange (Infected Mushroom Remix) and more). 16 tracks (87:55). Discover more music, concerts, videos, and pictures with the largest catalogue online at Last.fm.

Reviewed for Coffeerooms by Mike Jefferson

Classic rock icons don’t fade away – they just get remastered. For the second time in recent history, six of The Doors’ best-selling albums have been remodeled by Rhino Records. The remixed albums were supervised by the surviving Doors and Bruce Botnick, their long-time engineer. The new versions add background vocals and spoken snippets by Jim Morrison and discarded piano asides and guitar parts from Ray Manzarek and Robbie Krieger. Most notably, drummer John Densmore’s percussive talents are more up front in the mix, and listeners will be surprised how good the silent, surly stickman was.

The Doors
Waiting For the Sun 4.5 out of 5 stars

The album took some heat for being less edgy than the band’s previous two efforts – (in the case of the melodramatic and downright bizarre “Strange Days” that’s a good thing), but many of the tunes on “Waiting For the Sun” remain part of The Doors FM radio legacy. Ironically, the title track wouldn’t appear on an album until “Morrison Hotel,” and Morrison’s epic mini rock opera “Celebration of the Lizard,” which was supposed take up the entire second side of the album, was scratched because the group couldn’t wrestle it into shape.

“Hello, I Love You” was written about Morrison’s fascination with a black girl at the beach (“Do you hope to make her see you move? Do you hope to pluck this dusky jewel?” No lie, he calls her dusky.) With Morrison is in full drool mode, Krieger making his guitar solo sound like a boomerang and Manzarek patting lightly at his keys like a man dancing in the hot sand, “Hello, I Love You” wraps up all your pleasant memories of summer in 2:40.

Krieger, Manzarek and Densmore combine to make “Love Street” sound like a scenic stroll in the sunshine, while Morrison’s lyrics show he preferred to walk on the wild side: “She has robes and she has monkeys, lazy diamond studded flunkies. She has wisdom and knows what to do. She has me and she has you.”

There are two pairs of songs on “Waiting For the Sun” that function as mirror images of one another. The soft, cozy “Summer’s Almost Gone” plays into the disappointment that the best time of the year is about to end (and it’s the third of four songs that feed into the waiting for the sun theme. Get it?). Krieger’s low, moaning solo stands out, as does Manzarek’s placid keyboard work. Winter has seldom sounded as inviting as it does in “Wintertime Love,” a ballad with hints of a Russian waltz. Whenever Morrison chose to drop his poet/anarchist façade he could be a charmer, as “Wintertime Love’ and “Yes, The River Knows” prove. The two other songs that bookend one another, “Spanish Caravan” and “My Wild Love” expose the Doors’ music to more exotic textures.

“Spanish Caravan” opens with Krieger displaying a strong grasp of Flamenco guitar, while Manzarek’s keyboards swirl like an exuberant gypsy dancing around a camp fire. “My Wild Love” is a strangely intriguing piece; a chanting Morrison leads a moaning back drop of singers that resemble a cross between flagellating monks and a galley crew powering their ship. The music is sparse – Morrison and the monks are accompanied by what sounds like a whip and a speaker full of angry rattlesnakes shaking their tales. “My Wild Love” is a distant cousin to a spaghetti western soundtrack, not unlike “The Good, The Bad and The Ugly,” but there’s no light here, only menace, and it’s stunning.

Even if The Doors have nothing to say, they can often find an intriguing way to hold your interest. A case in point is “We Could Be So Good Together.” There’s an energetic solo from Krieger and intuitive drumming from Densmore, which serve to hide the fact that the title is actually the sum total of what Morrison has to say.

Given the era the album was recorded (Vietnam was edging into full overkill), “The Unknown Soldier” is one of Morrison’s pessimistic visions of the world that was stunningly on point then and is just as poignant today. Densmore plays the role of drummer boy, laying down a patriotic marching beat as the rest of the group acts out a mock execution. Whoever was hanging around the studio was “drafted” to be part of the mock firing squad. Morrison plays the role of martyr to the hilt.

Old Song Remixed

“Not To Touch The Earth” is one of the few salvageable pieces from Morrison’s misguided magnum opus, “Celebration of the Lizard.” Manzarek’s organ sizzles like a dozen eggs in a frying pan – Jim Morrison, this is your brain on booze. The band employs a nifty trick when Morrison intones “Run with me,” as Densmore turns the beat into a foot race and Krieger’s guitar imitates a man fleeing for his life.

The overtly romantic “Yes, the River Knows” is Morrison the crooner; the Lizard King as a romantic. Morrison’s voice is remarkably strong, steady, and unforgettable. Densmore’s shuffling beat, Krieger’s innocent solo and guest bassist Doug Lubahan’s thick runs frame Morrison’s lonesome plea: “Please believe me, the river told me, very softly, want you to hold me.” Not surprisingly, the exposed heartache and sentiment in the song didn’t come from Morrison, who was loathed to be perceived as weak; “Yes, the River Knows,” flowed from the prolific pen of Robbie Krieger.

By now Morrison and Densmore were barely on speaking terms. Morrison found Densmore to be humorless and square. Densmore thought Morrison was reckless, irresponsible and a drunken idiot. Both men were right and neither was giving a scintilla. But they could occasionally channel their disgust for one another into a classic, and the closer “Five to One” is one of those moments. Densmore hammers out a lethal beat and bassist Lubahan feeds off it as Morrison assumes a predatory stance: “Five to one baby, one in five, no one here gets out alive.” Another comment on Vietnam? Or was Morrison commenting on the group itself?

“Waiting For the Sun” may have cracked the group’s tough punk poet façade, but it established them as legitimate songwriters commenting on something other than the bulge in their Levi’s. While Krieger, Densmore and Manzarek flourished, Morrison thumbed his nose at respectability calling “Waiting For The Sun” and its follow-up “The Soft Parade” sell outs. If this was selling out, then The Doors should have surrendered sooner.

Waiting for the Bonuses

“Waiting For the Sun” features three attempts at “Not To Touch the Earth” and a seventeen minute rendering of “The Celebration of the Lizard.” Notice I said rendering, which, if I’m not mistaken is what you do with freshly killed meat. And you’ll feel like road kill if you can sit through Morrison’s peyote sucking bad trip. Morrison was one of those rare hit or miss geniuses, and this is as big a whiff as a blind man swinging at a knuckleball.

Pop Songs Remixed

The Soft Parade 4 out of 5 stars

By the time the Doors entered the studio for “The Soft Parade,” Morrison and Krieger, whose songs had carried the first three albums, were bereft of ideas. Morrison was too busy living the life of a debauched poet. Now drunk most of the time, he rebelled against his rock god tag by getting fleshy and growing a beard that made him look like a rock and roll version of Grizzly Adams. It was up to producer Paul Rothchild to push the band, and he was behind the idea to flesh out The Doors’ sound by adding horns and strings. The band protested from the first note to the last, and upon its release “The Soft Parade” was criticized

Doors Remixed Album