Artist: The Doors
Title: The End
Description: track, The Doors
Release date: 1967
First heard: 1982
This is the beginning …
I know exactly where I was when I first heard the establishing tinkles of John Densmore’s splash cymbal and what sound like chimes but might be something Ray Manzarek teased from his keys: I was sitting on a plastic chair in the arts centre of what used to be Northampton College of Further Education on Booth Lane, where my friends Paul, Dave, Neil and I had joined the Film Society in order to blow our minds. It was 6 April, 1982 and we were there to see the X-rated Apocalypse Now (we were 17). Francis Coppola gave The End by the Doors a starring role. Written in 1967 about a break-up, it divides chin-stroking opinion. But it’s difficult to argue with its placement at the beginning – and the end – of Coppola’s South-East Asian odyssey. This is not background music. Jim Morrison’s mournful wail and student poetry meld into something that might have been – but wasn’t – written for the film or the war.
So, I heard the song for the first time at the same time as seeing the film for the first time. A film that would become one of my all-time favourite films. A song that would become one of my all-time favourite songs.
Both are long. The song comes in at an epic 11 minutes and 41 seconds on the Doors’ debut album. It’s reduced to just over six-and-a-half minutes on the soundtrack edit, its middle section concertina’d so that the serpentine opening and close are left fully intact. Apocalypse Now runs at 153 minutes, but there are other cuts of the film, notably the 202-minute Redux. The classic recording of The End for producer Paul A. Rothchild at Sunset Sound in Hollywood is formed of two takes, spliced together. And you can’t hear the join.
What I’m saying is, there’s no rush, and yet there is such a rush.
This is the middle bit …
It’s not a single and was never designed to be, but it climaxed Doors live shows as a backstop and would be the last song the band would ever play together, in New Orleans. (Morrison’s end came four years later in a rented room in the 4th arrondissemont, aged 27, an early bath foreshortening his “elaborate plans”.) In 1983, the Fun Boy Three tapped into the darkness on the edge of town and covered The End for novelty purposes on a proprietary music show called Switch and did a worthwhile job, I recall, including a good bash at the famous Oedipal interlude; this re-lit my fire for the Doors, whose eponymous debut album I purchased on cassette. I don’t know why cassette.
The sidewinding lyrics to The End had already entered my bloodstream via the film. The “stranger’s hand in a desperate land”; that “wilderness of pain” and “all the children” who went insane while “waiting for the summer rain” – Yeah!
It’s easy to dismiss Morrison as a horny sixth-form poet with the top button of his leather trousers accidentally left unpopped, and because The End is essentially free-form, refined into copyright over a series of jams, it doesn’t all read that well on the page. He reaches the bottom of his pencil case when he suggests we “ride the snake to the lake” and declares that “the West is the best.” But this song, this track, this Freudian trip, this outpouring of childhood angst brought on by a rich diet of reading, defines the Doors.
They made shorter, better, tighter, more hummable songs – Break On Through, People Are Strange, Light My Fire, Hello, I Love You, Riders on the Storm, Touch Me – and three of these were million-sellers, once Light My Fire had been pruned back to three minutes. They pulled six albums out of the chaos over five years, each a huge record in the multi-platinum orbit. But for all of Morrison’s apparent unsuitability for the straight and narrow – singing the forbidden word “higher” on the Ed Sullivan Show against the show’s express wishes; the public obscenity charge; taunting his fans at an over-sold show in a seaplane hangar; bothering blameless cabin crew – he kind of turned up for work nonetheless, however drunk. The lizard king myth was successfully blown out of proportion, but the late 60s and early 70s were a heady time, and if Jim Morrison hadn’t existed, they’d have had to invent him.
This is the end …
What elevates The End from an overlong song at the end of a perfectly sensible psychedelic rock album by a gigging band who’d found their feet to a work of genius is – boring as this seems – its very length. Its mission to explain and explain. The long-windedness beneath its wings. The fundamental wherewithal to go where no band had gone before while staying fashionable. Not many greatest hits get away with a spoken interlude – ABC’s The Look of Love (“They say, Martin, maybe one day you’ll find true love”); Michael Jackson’s Thriller (“Darkness falls across the land”); Britney’s Oops! … I Did It Again (“Oh, you shouldn’t have”) – but those that do need to get some perspective. At about six-and-a-half minutes in, Morrison slips out of his stentorian oratory, leans on the mic stand, and starts to tell us a sto-o-ory. Are you sitting uncomfortably?
“The killer awoke before dawn … He put his boots on … He took a face from the ancient gallery and walked on down the hall … And he came to a door and he looked inside …”
That we associate this edition of Crackanory with Captain Willard’s journey to enlightenment beyond the Do Long Bridge and the Montagnard Army in Apocalypse Now, followed by its murderous fruition, is easy to follow. It’s not about the Vietnam War, but it’s 1967 and everything’s about the Vietnam War, man.
Father? Yes, son? I want to kill you
Mother … I want to … waaaaaarrrgghhhh
And Densmore’s drums explode into abandon, Robby Krieger’s guitar gets out of the boat, and Manzarek mellows the situation out with a go-around the keys, while Morrison breaks on through to the other side, that peyote still pecking at his vitals and Rothchild manning the pumps. They meet at the back of the blue bus, Morrison lashing away, using “fuck” as a beat, Densmore adds more cowbell, Krieger banjo-duels with his himself, until it all falls apart and – in the mind of an Apocalypse Now devotee – a sacred cow is sacrificed.
This was the end, and, for me, the start of beautiful friendship. He did, however, write some bloody awful poetry.
2 thoughts on “The Doors, The End (1967)”
This is amazingly close to my own experiences. Apocalypse Now and The Doors kick-started my obsession with music and film that also ended up with my working for the NME. Clearly powerful stuff
Ah, that siren call! It pulses no more. We were among the lucky generations.