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THE DOORS - THE DOORS SELF-TITLED FIRST ALBUM - ORIGINAL 1967 ELEKTRA RECORDS STEREO LP EKS-74007
ORIGINAL U.S. PRESSING
ORIGINAL TAN BROWN ELEKTRA LABEL
THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
ORIGINAL, THIN CARDBOARD COVER NO THICK CARDBOARD COVERS WERE EVER PRODUCED FOR THIS TITLE
COVER IS STILL IN ITS ORIGINAL SHRINK CELLOPHANE WRAP
CLEAN, WEAR-FREE LABELS
THICK, HEAVY VINYL PRESSING
THE RECORD HAS A DATE STAMP OF 8/67 AUGUST 1967 HAND-ETCHED IN THE TRAIL-OFF VINYL DEAD WAX
PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW
Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a recycled image from our previous auction. What you see is what you ll get. GUARANTEED
A tremendous debut album, and indeed one of the best first-time outings in rock history, introducing the band s fusion of rock, blues, classical, jazz, and poetry with a knock-out punch. The lean, spidery guitar and organ riffs interweave with a hypnotic menace, providing a seductive backdrop for Jim Morrison s captivating vocals and probing prose. Light My Fire was the cut that topped the charts and established the group as stars, but most of the rest of the album is just as impressive, including some of their best songs: the propulsive Break on Through their first single , the beguiling Oriental mystery of The Crystal Ship, the mysterious End of the Night, Take It as It Comes one of several tunes besides Light My Fire that also had hit potential , and the stomping rock of Soul Kitchen and Twentieth Century Fox. The 11-minute Oedipal drama The End was the group at its most daring and, some would contend, overambitious. It was nonetheless a haunting cap to an album whose nonstop melodicism and dynamic tension would never be equaled by the group again, let alone bettered.
EXCERPT FROM AN ONLINE REVIEW BY RICHIE UNTERBERGER, ALL MUSIC GUIDE /ALLMUSIC.COM/
What else can be said of this vintage 60 s masterpiece that hasn t been said over the past 48 years since it was recorded?. Not much, we believe. By now, this album should be known to every man, woman and child on earth. This VERY FIRST PRESSING of the album, with its sparkling analog sound will leave you begging for more. You will hear all of those Summer of Love songs like you ve heard them for the first time, 50 years ago assuming, of course, that you were even alive back then :- .
For its extraordinary contribution to the modern music, superb production, craftsmanship, fine musicianship, revolutionary significance and influence it exerted on numerous generations of musicians, writers and general public, or for some other innate quality, this album was voted one of top-200 albums of all time in one of the largest poll of critics, music reviewers, professionals and producers ever organized: the poll, which was conducted by Paul Gambaccini, legendary BBC Radio A R man, surveyed more than 50 top music professionals including Roy Carr, Jonathan Cott, Robert Christgau, Cameron Crowe, Chet Flippo, Ben Fong-Torres, Charlie Gillett, Greil Marcus, Murray the K., Lenny Kaye, Bruce Morrow a/k/a Cousin Brucie , Tim Rice of Jesus Christ Superstar and Evita fame , Lisa Robinson, Robert Shelton who wrote liner notes for Bob Dylan s first album , Ed Ward, Joel Whitburn, Pete Wingfield, etc. . For more details, see: Critics Choice: Top-200 albums compiled by Paul Gambaccini, Omnibus Press, Library of Congress Catalog No.7855565 or click here for the complete album listing .
THE FOLLOWING IS AN EXCERPT FROM THE MATTHEW GREENWALD S INTERVIEW WITH BRUCE BOTNICK, LEGENDARY ENGINEER OF ALL SIX DOORS STUDIO ALBUMS AND THE CO-PRODUCER OF L.A. WOMAN
Matthew Greenwald: It sounds to me as if the first Doors album had the best high-frequency extension, transient snap, and overall transparency, and that with each album sonically fine as they are those qualities seemed to diminish. Would you agree or disagree?
Bruce Botnick: I d agree with that to an extent, because the first album was all tube. Strange Days was done on a tube console, but with a solid-state eight-track. From then on it became all solid-state consoles and solid-state tape machines. There was also this direction that Paul Rotschild wanted to take it, a more intellectual kind of a sound, not as raw as the first album. The sound started to become more scientific as it went along, a little more clinical, because studios, by and large, are hospitals, they re not places to record music. Technology is the evil person here .
For additional historical or discography information on this album, including track listing click here
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CONDITION:
RECORD
IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded we grade records under the strong, diffuse room light or discrete sunlight
a WE GRADE THE VINYL AS EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial and only moderately visually distracting nothing significant .For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new MINOR SCUFF NOTED IN THE MIDDLE OF THE END , NOT EXPECTED TO BE AUDIBLE
b The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording
c The record comes in the original stock inner sleeve.
d Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording
COVER
COVER IS STRONG NEAR MINT,
