THE DOORS
- Thread starter I love new york
- Data e fillimit
Re: THE DOORS
Kme patur para ca vitesh bluzen me varrin e jimit ne france..Pere la chaise..
death makes angels of usa all and gives us wings
were we had shoulders smooth as ravens clauds..
shkruhej mbrapa... :rockband:
Before i sing
into a big sleep
i want to hear the scream of the butterfly :wave:
Kme patur para ca vitesh bluzen me varrin e jimit ne france..Pere la chaise..
death makes angels of usa all and gives us wings
were we had shoulders smooth as ravens clauds..
shkruhej mbrapa... :rockband:
Before i sing
into a big sleep
i want to hear the scream of the butterfly :wave:
jim_albanian_morrison
Primus registratum
Re: THE DOORS
EJ AKOMA ME BLUZAT JENI JU,AHAAAAAAAAA
EJ AKOMA ME BLUZAT JENI JU,AHAAAAAAAAA
the hitman
Primus registratum
Re: THE DOORS
si te gjithe ata qe e kane perjetuar intensivisht periudhen '92-'97 edhe une(si shoqeria ime)nuk mund te mos mbetesha i magjepsur like i was shot with a diamond bullet right through the forehead nga fenomeni "THE DOORS".ishin kontaktet e para te shqiptareve me ate bote aq shume te enderruar,sidomos me boten e artit dhe me muziken ne vecanti.THE DOORS dhe mbi te gjitha JIM MORRISON perbenin nje stimul vital te parezistueshem.
ne te gjithe i pelqyem qe ne fillim tekstet dhe muziken e tyre.ata i jepnin forme pervojes se brendshme te adoleshenteve te atehershem,menyra e tyre e te jetuarit ishte shume e gjalle,ekstreme ne shume raste,terheqese,corientuese.te tregonin per nje new evil world;weird and haunting,sensous,exciting.
tani sikur eshte zbehur entuziazmi per ata dhe per JIM MORRISON ne radhe te pare.me kalimin e kohes gjerat fillon e i racionalizon gjithmone e me shume,si pasoje e edukimit,rritjes intelektuale dhe eshte pak e veshtire ta leshosh veten perseri kur degjon ate poezi.por ata mbeten si pike referimi ideale,ne kuptimin qe te gjithe donin tju ngjanin e te beheshin si THE DOORS,sepse keshtu gjenin tamam vetveten.
si te gjithe ata qe e kane perjetuar intensivisht periudhen '92-'97 edhe une(si shoqeria ime)nuk mund te mos mbetesha i magjepsur like i was shot with a diamond bullet right through the forehead nga fenomeni "THE DOORS".ishin kontaktet e para te shqiptareve me ate bote aq shume te enderruar,sidomos me boten e artit dhe me muziken ne vecanti.THE DOORS dhe mbi te gjitha JIM MORRISON perbenin nje stimul vital te parezistueshem.
ne te gjithe i pelqyem qe ne fillim tekstet dhe muziken e tyre.ata i jepnin forme pervojes se brendshme te adoleshenteve te atehershem,menyra e tyre e te jetuarit ishte shume e gjalle,ekstreme ne shume raste,terheqese,corientuese.te tregonin per nje new evil world;weird and haunting,sensous,exciting.
tani sikur eshte zbehur entuziazmi per ata dhe per JIM MORRISON ne radhe te pare.me kalimin e kohes gjerat fillon e i racionalizon gjithmone e me shume,si pasoje e edukimit,rritjes intelektuale dhe eshte pak e veshtire ta leshosh veten perseri kur degjon ate poezi.por ata mbeten si pike referimi ideale,ne kuptimin qe te gjithe donin tju ngjanin e te beheshin si THE DOORS,sepse keshtu gjenin tamam vetveten.
ermir celanji
Primus registratum
Re: THE DOORS
si lejo ta lini temen ne fund te listes.............this is the end
si lejo ta lini temen ne fund te listes.............this is the end
Re: THE DOORS
Wow, I'm sick of doubt
Live in the light of certain
South
Cruel bindings.
The servants have the power
Dog-men and their mean women
Pulling poor blankets over
Our sailors
I'm sick of dour faces
Staring at me from the tv
Tower, I want roses in
My garden bower; dig?
Royal babies, rubies
Must now replace aborted
Strangers in the mud
These mutants, blood-meal
For the plant that's plowed.
They are waiting to take us into
The severed garden
Do you know how pale and wanton thrillful
Comes death on a strange hour
Unannounced, unplanned for
Like a scaring over-friendly guest you've
Brought to bed
Death makes angels of us all
And gives us wings
Where we had shoulders
Smooth as raven's
Claws
No more money, no more fancy dress
This other kingdom seems by far the best
Until it's other jaw reveals incest
And loose obedience to a vegetable law.
I will not go
Prefer a feast of friends
To the giant family.
HIQNI DURT PREJ KTU SE JU MYTA!!!!!!!!!!
James Douglas Morrison I LOVE YOU!
Wow, I'm sick of doubt
Live in the light of certain
South
Cruel bindings.
The servants have the power
Dog-men and their mean women
Pulling poor blankets over
Our sailors
I'm sick of dour faces
Staring at me from the tv
Tower, I want roses in
My garden bower; dig?
Royal babies, rubies
Must now replace aborted
Strangers in the mud
These mutants, blood-meal
For the plant that's plowed.
They are waiting to take us into
The severed garden
Do you know how pale and wanton thrillful
Comes death on a strange hour
Unannounced, unplanned for
Like a scaring over-friendly guest you've
Brought to bed
Death makes angels of us all
And gives us wings
Where we had shoulders
Smooth as raven's
Claws
No more money, no more fancy dress
This other kingdom seems by far the best
Until it's other jaw reveals incest
And loose obedience to a vegetable law.
I will not go
Prefer a feast of friends
To the giant family.
HIQNI DURT PREJ KTU SE JU MYTA!!!!!!!!!!
James Douglas Morrison I LOVE YOU!
ladouce2005
Primus registratum
Re: THE DOORS
ladouce2005
Primus registratum
Re: THE DOORS
JIM MORRISON
1943 - 1971
You could say it's an accident that I was ideally suited for the work I am doing. It's the feeling of a bowstring being pulled back for 22 years and suddenly being let go. I am primarily an American, second, a Californian, third, a Los Angeles resident. I've always been attracted to ideas that were about revolt against authority. I like ideas about the breaking away or overthrowing of established order. I am interested in anything about revolt, disorder, chaos - especially activity that seems to have no meaning. It seems to me to be the road toward freedom - external revolt is a way to bring about internal freedom. Rather than starting inside, I start outside - reach the mental through the physical. I am a Sagittarian - if astrology has anything to do with it - the Centaur - the Archer - the Hunt - But the main thing is that we are The Doors.
We are from the West. The whole thing is like an invitation to the West.
The sunset - This is the end
The night - The sea
The world we suggest is of a new wild west. A sensuous evil world. Strange and haunting, the path of the sun, you know? Toward the end. At least for our first album. We're all centered around the end of the zodiac. The Pacific - violence and peace - the way between young and the old.
Taken from the original Elektra Records biography, 1967
1943 - 1971
You could say it's an accident that I was ideally suited for the work I am doing. It's the feeling of a bowstring being pulled back for 22 years and suddenly being let go. I am primarily an American, second, a Californian, third, a Los Angeles resident. I've always been attracted to ideas that were about revolt against authority. I like ideas about the breaking away or overthrowing of established order. I am interested in anything about revolt, disorder, chaos - especially activity that seems to have no meaning. It seems to me to be the road toward freedom - external revolt is a way to bring about internal freedom. Rather than starting inside, I start outside - reach the mental through the physical. I am a Sagittarian - if astrology has anything to do with it - the Centaur - the Archer - the Hunt - But the main thing is that we are The Doors.
We are from the West. The whole thing is like an invitation to the West.
The sunset - This is the end
The night - The sea
The world we suggest is of a new wild west. A sensuous evil world. Strange and haunting, the path of the sun, you know? Toward the end. At least for our first album. We're all centered around the end of the zodiac. The Pacific - violence and peace - the way between young and the old.
Taken from the original Elektra Records biography, 1967
ladouce2005
Primus registratum
Re: THE DOORS
/pf/images/graemlins/frown.gif
The Doors were somewhat of an anomaly in the rock pantheon. In their heyday they weren't folk or jazz and while some rock critics called their music "acid rock" they weren't part of the peace-and-love Airplane-Dead-Quicksilver acid-rock sound of San Francisco. They had nothing in common with the English invasion, or even pop music in general though they generated three Number 1 hit singles, and while New York City was good to the Doors-almost to the point of adopting them as their own-they were still a league apart from the Velvet Underground, despite a mutual affinity for dark and somber themes. They weren't even part of the folk-rock scene which dominated Los Angeles in those days, in the music of the Byrds, Buffalo Springfield, and the like. Even among the hierarchy that includes Elvis, Joplin, and Hendrix, they were a world unto themselves. " A strange and haunting world," as Jim himself once said, "suggestive of a new and wild west."
To get the best view of Jim Morrison you must go through the Doors and the most important thing to remember about the Doors is that they were a band and each individual formed a side of the diamond that was the whole. One night, on the road, just before the concert was to begin, a disc jockey climbed on the stage to introduce the act: "Ladies and gentlemen, " he announced to the audience, "please welcome Jim Morrison and the Doors!" There was the customary applause. As the DJ walked down the stairs leading from the stage, Jim pulled him aside and said, "Uh-uh, man, you go back up there and introduce us right." The DJ panicked. "What did I say? What did I do? " "It's The Doors, " Jim said, "the name of the band is The Doors."
Here was a band whose unexpressed goal was nothing short of musical alchemy-they intended to wed rock music unlike any ever heard before with poetry and that hybrid with theater and drama. They aimed to unite performer and audience by plugging directly into the Universal Mind. They would settle for nothing less. For them that meant risk, no gimmicks, nothing up their sleeves, no elaborate staging or special effects-only naked, dangerous reality, piercing the veil of maya with the music's ability to awaken man's own dormant and eternal powers.
The Doors constantly courted their muse-that is to say, Morrison courted his muse, and the band followed; the band stayed with him. Jim believed one cannot simply will the muse; the writer or artist's power lies in his ability to receive, as well as invent, and it was the artist's duty to do everything possible to increase his powers of reception. To achieve this end the nineteenth-century poet Arthur Rimbaud had advocated a systematic "rational derangement of all the senses." Why? "To achieve the unknown." How? Any way possible.
Jim's fondness, and search, for the unknown is well documented in the following pages. "There are things known," Jim would say in a quote often attributed to William Blake but in fact Jim's own, "and there are things unknown, and in between are the doors." But Blake did say, in his first Proverb of Hell, "The road of excess leads to the palace of wisdom." And the next line down, "Prudence is a rich ugly old maid courted by Incapacity." It needn't be added that Jim did not court the maid and courted capacity whenever he could. Jim drank and yelled and pleaded, cajoled and danced in inspiration to unite the band, to ignite the audience, to set the night on fire, once and for all, forever.
Sadly, it was Jim's commitment to this standard, set so early in his professional career, that finally did in both the man and the band. Jim Morrison was a man who would not, could not, and refused to compromise himself or his art. And herein lay his innocence and purity-his summary blessing and curse. To go all the way or die trying. All or nothing. The ecstatic risk. Because he would not manufacture or cheapen what he wrote, he could not fake despair or pretend ecstasy. He would not merely entertain, or go through the motions; he was brilliant and desperate, he was driven by an unrelenting need to "test the bounds of reality," to probe the sacred, explore the profane. And it made him mad...mad to create, mad to be real. And these qualities made him volatile, dangerous and conflicted. He sought consolation and solace in the same elements that had initially inspired him and helped him to create: intoxicants.
The Doors were somewhat of an anomaly in the rock pantheon. In their heyday they weren't folk or jazz and while some rock critics called their music "acid rock" they weren't part of the peace-and-love Airplane-Dead-Quicksilver acid-rock sound of San Francisco. They had nothing in common with the English invasion, or even pop music in general though they generated three Number 1 hit singles, and while New York City was good to the Doors-almost to the point of adopting them as their own-they were still a league apart from the Velvet Underground, despite a mutual affinity for dark and somber themes. They weren't even part of the folk-rock scene which dominated Los Angeles in those days, in the music of the Byrds, Buffalo Springfield, and the like. Even among the hierarchy that includes Elvis, Joplin, and Hendrix, they were a world unto themselves. " A strange and haunting world," as Jim himself once said, "suggestive of a new and wild west."
To get the best view of Jim Morrison you must go through the Doors and the most important thing to remember about the Doors is that they were a band and each individual formed a side of the diamond that was the whole. One night, on the road, just before the concert was to begin, a disc jockey climbed on the stage to introduce the act: "Ladies and gentlemen, " he announced to the audience, "please welcome Jim Morrison and the Doors!" There was the customary applause. As the DJ walked down the stairs leading from the stage, Jim pulled him aside and said, "Uh-uh, man, you go back up there and introduce us right." The DJ panicked. "What did I say? What did I do? " "It's The Doors, " Jim said, "the name of the band is The Doors."
Here was a band whose unexpressed goal was nothing short of musical alchemy-they intended to wed rock music unlike any ever heard before with poetry and that hybrid with theater and drama. They aimed to unite performer and audience by plugging directly into the Universal Mind. They would settle for nothing less. For them that meant risk, no gimmicks, nothing up their sleeves, no elaborate staging or special effects-only naked, dangerous reality, piercing the veil of maya with the music's ability to awaken man's own dormant and eternal powers.
The Doors constantly courted their muse-that is to say, Morrison courted his muse, and the band followed; the band stayed with him. Jim believed one cannot simply will the muse; the writer or artist's power lies in his ability to receive, as well as invent, and it was the artist's duty to do everything possible to increase his powers of reception. To achieve this end the nineteenth-century poet Arthur Rimbaud had advocated a systematic "rational derangement of all the senses." Why? "To achieve the unknown." How? Any way possible.
Jim's fondness, and search, for the unknown is well documented in the following pages. "There are things known," Jim would say in a quote often attributed to William Blake but in fact Jim's own, "and there are things unknown, and in between are the doors." But Blake did say, in his first Proverb of Hell, "The road of excess leads to the palace of wisdom." And the next line down, "Prudence is a rich ugly old maid courted by Incapacity." It needn't be added that Jim did not court the maid and courted capacity whenever he could. Jim drank and yelled and pleaded, cajoled and danced in inspiration to unite the band, to ignite the audience, to set the night on fire, once and for all, forever.
Sadly, it was Jim's commitment to this standard, set so early in his professional career, that finally did in both the man and the band. Jim Morrison was a man who would not, could not, and refused to compromise himself or his art. And herein lay his innocence and purity-his summary blessing and curse. To go all the way or die trying. All or nothing. The ecstatic risk. Because he would not manufacture or cheapen what he wrote, he could not fake despair or pretend ecstasy. He would not merely entertain, or go through the motions; he was brilliant and desperate, he was driven by an unrelenting need to "test the bounds of reality," to probe the sacred, explore the profane. And it made him mad...mad to create, mad to be real. And these qualities made him volatile, dangerous and conflicted. He sought consolation and solace in the same elements that had initially inspired him and helped him to create: intoxicants.
Re: THE DOORS
din gja kush si mundem me e fshi nji pjes te dvd-s ku jimin e xen gjumi t'shtrim te velat e anijes (te video me melodine "adagio" t'feast of friends)
...
se m'ik oreksi sa her' e shof /pf/images/graemlins/cry.gif /pf/images/graemlins/wub.gif /pf/images/graemlins/wub.gif /pf/images/graemlins/wub.gif
ai asht i parezistushem gjithkund... uuu po te koncerti i 5 korrikut 1968 ?sidomos te kanga "the end" q1 e xjerr tan kohen n'profil /pf/images/graemlins/cry.gif
heeeeelpppppppp !
ps: nks nuk dini se si mundem me e fshi at pjes', m'kalxoni si mundem me i vesh teshat e me ja mblu ftyren e bukur me nji zhele /pf/images/graemlins/laugh.gif
foto prej koncertit 5 korrik /pf/images/graemlins/wub.gif
/pf/images/graemlins/wub.gif /pf/images/graemlins/wub.gif /pf/images/graemlins/wub.gif
din gja kush si mundem me e fshi nji pjes te dvd-s ku jimin e xen gjumi t'shtrim te velat e anijes (te video me melodine "adagio" t'feast of friends)
...
se m'ik oreksi sa her' e shof /pf/images/graemlins/cry.gif /pf/images/graemlins/wub.gif /pf/images/graemlins/wub.gif /pf/images/graemlins/wub.gif
ai asht i parezistushem gjithkund... uuu po te koncerti i 5 korrikut 1968 ?sidomos te kanga "the end" q1 e xjerr tan kohen n'profil /pf/images/graemlins/cry.gif
heeeeelpppppppp !
ps: nks nuk dini se si mundem me e fshi at pjes', m'kalxoni si mundem me i vesh teshat e me ja mblu ftyren e bukur me nji zhele /pf/images/graemlins/laugh.gif
foto prej koncertit 5 korrik /pf/images/graemlins/wub.gif
dahlia
Grupi i të çmëndurve!
Re: Love you Jim
"The Doors"
Lyrics
BREAK ON THROUGH (To The Other Side)
SOUL KITCHEN
CRYSTAL SHIPS
TWENTIETH CENTURY FOX
WHISKEY BAR (Alabama Song)
LIGHT MY FIRE
BACK DOOR MAN
I LOOKED AT YOU
END OF THE NIGHT
TAKE IT AS IT COMES
THE END
Break On Through (To The Other Side)
You know the day destroys the night
Night divides the day
Tried to run
Tried to hide
Break on through to the other side
Break on through to the other side
Break on through to the other side
We chased our pleasures here
Dug our treasures there
But can you still recall
The time we cried
Break on through to the other side
Break on through to the other side
Break on through to the other side
Everybody loves my baby
Everybody loves my baby
She gets, she gets
She gets, she gets
I found an island in your arms
A country in your eyes
Arms that chain us
Eyes that lied
Break on through to the other side
Break on through to the other side
Break on through to the other side
Made the scene from week to week
Day to day, hour to hour
The gate is straight
Deep and wide
Break on through to the other side
Break on through to the other side
Break on through to the other side
Break on through, break on through
Break on through, break on through
Yeah, yeah, yeah,
Yeah, yeah, yeah, . . .
Soul Kitchen
Well, the clock says it's time to close now
I guess I'd better go now
I'd really like to stay here all night
The cars crawl past all stuffed with eyes
Street lights share their hollow glow
Your brain seems bruised with numb surprise
Still one place to go
Still one place to go
Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander, baby
Stumbling in the neon groves
Your fingers weave quick minarets
Speak in secret alphabets
I light another cigarette
Learn to forget, learn to forget
Learn to forget, learn to forget
Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander, baby
Stumbling in the neon groves
Well the clock says it's time to close now
I know I have to go now
I really want to stay here all night
All night
All night
Crystal Ship
Before you slip into unconsciousness
I'd like to have another kiss
Another flashing chance at bliss
Another kiss
Another kiss
The days are bright and filled with pain
Enclose me in your gentle rain
The time you ran was too insane
We'll meet again
We'll meet again
Oh tell me where your freedom lies
The streets are fields that never die
Deliver me from reasons why
You'd rather cry
I'd rather fly
The crystal ship is being filled
A thousand girls, a thousand thrills
A million ways to spend your time
When we get back
I'll drop a line
Twentieth Century Fox
Well, she's fashionably lean
And she's fashionably late
She'll never rank a scene
She'll never break a date
But she's no drag
Just watch the way she walks
She's a twentieth century fox
She's a twentieth century fox
No tears, no fears
No ruined years
No clocks
She's a twentieth century fox
She's the queen of cool
And she's the lady who waits
Since her mind left school
It never hesitates
She won't waste time
On elementary talk
'Cause she's a twentieth century fox
She's a twentieth century fox
Got the world locked up
Inside a plastic box
She's a twentieth century fox, oh yeah
Twentieth century fox, oh yeah
Twentieth century fox
She's a twentieth century fox
Whiskey Bar (Alabama Song)
Well, show me the way
To the next whiskey bar
Oh, don't ask why
Oh, don't ask why
Show me the way
To the next whiskey bar
Oh, don't ask why
Oh, don't ask why
For if we don't find
The next whiskey bar
I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die
Oh, moon of Alabama
We now must say goodbye
We've lost our good old mama
And must have whiskey, oh, you know why
Oh, moon of Alabama
We now must say good-bye
We've lost our good old mama
And must have whiskey, oh, you know why
Well, show me the way
To the next little girl
Oh, don't ask why
Oh, don't ask why
Show me the way
To the next little girl
Oh, don't ask why
Oh, don't ask why
For if we don't find
The next little girl
I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die
Oh, moon of Alabama
We now must say goodbye
We've lost our good old mama
And must have whiskey, oh, you know why
Light My Fire
You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn't get much higher
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire
The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire, yeah
The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire
You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn't get much higher
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire
Back Door Man
Whoa, yeah!
C'mon, yeah
Yeah, c'mon, yeah
Yeah, c'mon
Oh, yeah, ma
Yeah, I'm a back door man
I'm a back door man
The men don't know
But the little girls understand
Hey, all you people that tryin' to sleep
I'm out to make it with my midnight dream, yeah
'Cause I'm a back door man
The men don't know
But the little girls understand
All right, yeah
You men eat your dinner
Eat your pork and beans
I eat more chicken
Than any man ever seen, yeah, yeah
I'm a back door man, what
The men don't know
But the little girsl understand
Well, I'm a back door man
I'm a back door man
Whoa, baby, I'm a back door man
The men don't know
But the little girls understand
I Looked At You
I looked at you
You looked me
I smiled at you
You smiled at me
And we're on our way
No we can't turn back
Yeah, we're on our way
And we can't turn back
'Cause it's too late
Too late, too late
Too late, too late
And we're on our way
No we can't turn back
Yeah, we're on our way
And we can't turn back
I walked with you
You walked with me
I talked to you
You talked to me
And we're on our way
No, we can't turn back
Yeah, we're on our way
And we can't turn back
'Cause it's too late
Too late, too late
Too late, too late
And we're on our way
No, we can't turn back
Yeah, we're on our way
And we can't turn back
'Cause it's too late
Too late, too late
Too late, too late
End Of The Night
Take the highway to the end of the night
End of the night
End of the night
Take a journey to the bright midnight
End of the night
End of the night
Realms of bliss
Realms of light
Some are born to sweet delight
Some are born to sweet delight
Some are born to the endless night
End of the night
End of the night
End of the night
End of the night
Realms of bliss
Realms of light
Some are born to sweet delight
Some are born to sweet delight
Some are born to the endless night
End of the night
End of the night
End of the night
End of the night
Take It As It Comes
Time to live
Time to lie
Time to laugh
Time to die
Take it easy, baby
Take it as it comes
Don't move too fast if you want your love to last
You've been movin' much too fast
Time to walk
Time to run
Time to aim your arrows
At the sun
Take it easy, baby
Take it as it comes
Don't move too fast if you want your love to last
You've been movin' much too fast
Go real slow
You like it more and more
Take it as it comes
Specialize in havin' fun
Take it easy, baby
Take it as it comes
Don't move too fast if you want your love to last
You've been movin' much too fast
Movin' much too fast
Movin' much too fast
The End
This is the end, beautiful friend
This is the end, my only friend
The end of our elaborate plans
The end of everything that stands
The end
No safety or surprise
The end
I'll never look into your eyes again
Can you picture what will be
So limitless and free
Desperately in need of some stranger's hand
In a desperate land
Lost in a Roman wilderness of pain
And all the children are insane
All the children are insane
Waiting for the summer rain
There's danger on the edge of town
Ride the King's highway
Weird scenes inside the gold mine
Ride the highway West, baby
Ride the snake
Ride the snake
To the lake
To the lake
The ancient lake, baby
The snake is long
Seven miles
Ride the snake
He's old
And his skin is cold
The West is the best
The West is the best
Get here and we'll do the rest
The blue bus is calling us
The blue bus is calling us
Driver, where are you taking us?
The killer awoke before dawn
He put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived
And then he paid a visit to his brother
And then he walked on down the hall
And he came to a door
And he looked inside
Father
Yes son?
I want to kill you
Mother, I want to. . .
C'mon baby, take a chance with us
C'mon baby, take a chance with us
C'mon baby, take a chance with us
And meet me at the back of the blue bus
This is the end, beautiful friend
This is the end, my only friend
The end
It hurts to set you free
But you'll never follow me
The end of laughter and soft lies
The end of nights we tried to die
This is the end
"The Doors"
Lyrics
BREAK ON THROUGH (To The Other Side)
SOUL KITCHEN
CRYSTAL SHIPS
TWENTIETH CENTURY FOX
WHISKEY BAR (Alabama Song)
LIGHT MY FIRE
BACK DOOR MAN
I LOOKED AT YOU
END OF THE NIGHT
TAKE IT AS IT COMES
THE END
Break On Through (To The Other Side)
You know the day destroys the night
Night divides the day
Tried to run
Tried to hide
Break on through to the other side
Break on through to the other side
Break on through to the other side
We chased our pleasures here
Dug our treasures there
But can you still recall
The time we cried
Break on through to the other side
Break on through to the other side
Break on through to the other side
Everybody loves my baby
Everybody loves my baby
She gets, she gets
She gets, she gets
I found an island in your arms
A country in your eyes
Arms that chain us
Eyes that lied
Break on through to the other side
Break on through to the other side
Break on through to the other side
Made the scene from week to week
Day to day, hour to hour
The gate is straight
Deep and wide
Break on through to the other side
Break on through to the other side
Break on through to the other side
Break on through, break on through
Break on through, break on through
Yeah, yeah, yeah,
Yeah, yeah, yeah, . . .
Soul Kitchen
Well, the clock says it's time to close now
I guess I'd better go now
I'd really like to stay here all night
The cars crawl past all stuffed with eyes
Street lights share their hollow glow
Your brain seems bruised with numb surprise
Still one place to go
Still one place to go
Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander, baby
Stumbling in the neon groves
Your fingers weave quick minarets
Speak in secret alphabets
I light another cigarette
Learn to forget, learn to forget
Learn to forget, learn to forget
Let me sleep all night in your soul kitchen
Warm my mind near your gentle stove
Turn me out and I'll wander, baby
Stumbling in the neon groves
Well the clock says it's time to close now
I know I have to go now
I really want to stay here all night
All night
All night
Crystal Ship
Before you slip into unconsciousness
I'd like to have another kiss
Another flashing chance at bliss
Another kiss
Another kiss
The days are bright and filled with pain
Enclose me in your gentle rain
The time you ran was too insane
We'll meet again
We'll meet again
Oh tell me where your freedom lies
The streets are fields that never die
Deliver me from reasons why
You'd rather cry
I'd rather fly
The crystal ship is being filled
A thousand girls, a thousand thrills
A million ways to spend your time
When we get back
I'll drop a line
Twentieth Century Fox
Well, she's fashionably lean
And she's fashionably late
She'll never rank a scene
She'll never break a date
But she's no drag
Just watch the way she walks
She's a twentieth century fox
She's a twentieth century fox
No tears, no fears
No ruined years
No clocks
She's a twentieth century fox
She's the queen of cool
And she's the lady who waits
Since her mind left school
It never hesitates
She won't waste time
On elementary talk
'Cause she's a twentieth century fox
She's a twentieth century fox
Got the world locked up
Inside a plastic box
She's a twentieth century fox, oh yeah
Twentieth century fox, oh yeah
Twentieth century fox
She's a twentieth century fox
Whiskey Bar (Alabama Song)
Well, show me the way
To the next whiskey bar
Oh, don't ask why
Oh, don't ask why
Show me the way
To the next whiskey bar
Oh, don't ask why
Oh, don't ask why
For if we don't find
The next whiskey bar
I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die
Oh, moon of Alabama
We now must say goodbye
We've lost our good old mama
And must have whiskey, oh, you know why
Oh, moon of Alabama
We now must say good-bye
We've lost our good old mama
And must have whiskey, oh, you know why
Well, show me the way
To the next little girl
Oh, don't ask why
Oh, don't ask why
Show me the way
To the next little girl
Oh, don't ask why
Oh, don't ask why
For if we don't find
The next little girl
I tell you we must die
I tell you we must die
I tell you, I tell you
I tell you we must die
Oh, moon of Alabama
We now must say goodbye
We've lost our good old mama
And must have whiskey, oh, you know why
Light My Fire
You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn't get much higher
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire
The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire, yeah
The time to hesitate is through
No time to wallow in the mire
Try now we can only lose
And our love become a funeral pyre
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire
You know that it would be untrue
You know that I would be a liar
If I was to say to you
Girl, we couldn't get much higher
Come on baby, light my fire
Come on baby, light my fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire
Try to set the night on fire
Back Door Man
Whoa, yeah!
C'mon, yeah
Yeah, c'mon, yeah
Yeah, c'mon
Oh, yeah, ma
Yeah, I'm a back door man
I'm a back door man
The men don't know
But the little girls understand
Hey, all you people that tryin' to sleep
I'm out to make it with my midnight dream, yeah
'Cause I'm a back door man
The men don't know
But the little girls understand
All right, yeah
You men eat your dinner
Eat your pork and beans
I eat more chicken
Than any man ever seen, yeah, yeah
I'm a back door man, what
The men don't know
But the little girsl understand
Well, I'm a back door man
I'm a back door man
Whoa, baby, I'm a back door man
The men don't know
But the little girls understand
I Looked At You
I looked at you
You looked me
I smiled at you
You smiled at me
And we're on our way
No we can't turn back
Yeah, we're on our way
And we can't turn back
'Cause it's too late
Too late, too late
Too late, too late
And we're on our way
No we can't turn back
Yeah, we're on our way
And we can't turn back
I walked with you
You walked with me
I talked to you
You talked to me
And we're on our way
No, we can't turn back
Yeah, we're on our way
And we can't turn back
'Cause it's too late
Too late, too late
Too late, too late
And we're on our way
No, we can't turn back
Yeah, we're on our way
And we can't turn back
'Cause it's too late
Too late, too late
Too late, too late
End Of The Night
Take the highway to the end of the night
End of the night
End of the night
Take a journey to the bright midnight
End of the night
End of the night
Realms of bliss
Realms of light
Some are born to sweet delight
Some are born to sweet delight
Some are born to the endless night
End of the night
End of the night
End of the night
End of the night
Realms of bliss
Realms of light
Some are born to sweet delight
Some are born to sweet delight
Some are born to the endless night
End of the night
End of the night
End of the night
End of the night
Take It As It Comes
Time to live
Time to lie
Time to laugh
Time to die
Take it easy, baby
Take it as it comes
Don't move too fast if you want your love to last
You've been movin' much too fast
Time to walk
Time to run
Time to aim your arrows
At the sun
Take it easy, baby
Take it as it comes
Don't move too fast if you want your love to last
You've been movin' much too fast
Go real slow
You like it more and more
Take it as it comes
Specialize in havin' fun
Take it easy, baby
Take it as it comes
Don't move too fast if you want your love to last
You've been movin' much too fast
Movin' much too fast
Movin' much too fast
The End
This is the end, beautiful friend
This is the end, my only friend
The end of our elaborate plans
The end of everything that stands
The end
No safety or surprise
The end
I'll never look into your eyes again
Can you picture what will be
So limitless and free
Desperately in need of some stranger's hand
In a desperate land
Lost in a Roman wilderness of pain
And all the children are insane
All the children are insane
Waiting for the summer rain
There's danger on the edge of town
Ride the King's highway
Weird scenes inside the gold mine
Ride the highway West, baby
Ride the snake
Ride the snake
To the lake
To the lake
The ancient lake, baby
The snake is long
Seven miles
Ride the snake
He's old
And his skin is cold
The West is the best
The West is the best
Get here and we'll do the rest
The blue bus is calling us
The blue bus is calling us
Driver, where are you taking us?
The killer awoke before dawn
He put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived
And then he paid a visit to his brother
And then he walked on down the hall
And he came to a door
And he looked inside
Father
Yes son?
I want to kill you
Mother, I want to. . .
C'mon baby, take a chance with us
C'mon baby, take a chance with us
C'mon baby, take a chance with us
And meet me at the back of the blue bus
This is the end, beautiful friend
This is the end, my only friend
The end
It hurts to set you free
But you'll never follow me
The end of laughter and soft lies
The end of nights we tried to die
This is the end