The Doors have dropped off the map. Maybe Roadhouse Blues gets the occasional play on classic rock radio, I wouldn't know. Just seems to me that you don't here so much about them these days. They aren't influencing anyone and don't seem to be dropped by the coolsters dropping names.
I've had a fascination with The Soft Parade for years. My fascination grows the longer other's fascination fails to materialize. It's a spectacular album. Yet no one cares. Actually less than that, most people seem to consider it a flop and an embarrassing slip up in The Doors discography. I disagree and I'll tell you why.
The Doors were always overblown to the point of being a bit ridiculous. Corny psychedelia and sub-adolescent poetry, plodding blues riffs and indulgent keyboard wank-a-thons. The seemingly cheesey Vegas style string arrangements and horn section put a lighthearted twist on the usually over dramatic tendencies of Morrison and Manzarek. I say seemingly because on closer inspection the arrangements are deft, subtle, and in parts very unexpected. The guitar and keyboard interplay keep some of the bluesier songs such as Shaman's Blues and Do It from getting too tedious. The jazzy sax solo in the middle of Runnin' Blue is unexpected and oddly great. The keyboards often take a back seat to either the excellent guitar of Robbie Krieger or the luxurious string/horn arrangements. That's a very good thing.
I've read descriptions of Morrison's vocals on The Soft Parade as disengaged (suggesting he wasn't really into the material, one is left to assume because it was faggy and Jim's no fag) but I prefer to think of them as restrained. Whatever it was, he should've done more of that. There is barely a patented Morrison yell to be found. Instead of his usual bombast up front coming across with a similar effect as someone talking way too loudly at a small gathering. His vocals are nestled within the band making them more melodic and just another element in the song. With the focus off the vocals the focus is also off the lyrics which become a side note as good rock lyrics should be. If I want intelligent words I'll read a book. Good lyrics are a bonus but not a must. A good melody can make almost any sequence of words into good lyrics.
My interest in The Soft Parade was initially sparked by Touch Me which is the one song from this album that consistently gets included on greatest hits compilations. At first (age 14) it was the joke song with the goofy and uncool horns. As The Doors were pushed aside in my musical explorations, Touch Me became the one song my mind often went back to. In my late teens I went back to the album but, as I was about absolutely everything at the time, I was conflicted. Is this great, or a good joke? Should I like this? I picked up my own vinyl copy of The Soft Parade in my late twenties and I immediately regretted the lost years. This is clearly a great album.
Now to the album highlights. The above mentioned Touch Me has a Vegas riff that would make Steve and Eydie green with envy. Morrison's voice is so suited to this huge production. The syncopated drumming, the subtle but complex keyboard riff,the big band, the crazy saxophone solo, and ba-ba-ba-ba ending. Perfection.
Why Tell All the People is not considered an all time classic, let alone a Door's classic, is something I will never understand. It's just an excellent performance of an excellent song. I would put it up against any song of that era with utmost confidence.
Wishful Sinful is a Robbie Krieger song that is easily overlooked. It's rather simple. The strings however are mind blowing. One string line flows under another, melodies complement melodies with the horns providing just enough drive. My only wish is that the band had toned it down a little bit more as they try to rock it up a bit, spoiling the mood. Take it easy. "Water covers you". It's cool.
The Doors have a few obscenely long epics like The End, When the Music's Over, and to a lesser extent L.A. Woman and Riders on the Storm. By far the best of these is The Soft Parade. From the unforgettable opening rant to the abrupt transitions between rhythms and styles this song is odd. Less than two minutes after Jim is screaming about seminary school we are in the midst of a lounge groove, only to find ourselves jumping to a jaunty Broadway ditty, a great blues groove, and beyond. The eight and a half minutes fly by. This is one of the few occasions where I think Morrison's lyrics are really great. Lines like " carrying babies to the river" and " cobra on my left, leopard on my right". This song almost makes you think that he may have had a sense of humour.
Am I crazy? Is this a Linus from The Peanuts scenario where I feel sorry for the pathetic Xmas tree that is The Soft Parade? Could very well be. Check it out for yourself.
Also their best album cover.
