With a personality like Jim Morrison fronting the band, there's little wonder that the intensely brilliant musicianship of Ray Manzarek, John Densmore and Robby Krieger was often eclipsed by his looming figure. Once Morrison was dead, in July 1971, there must have seemed little point in the trio continuing. Luckily, however, they did continue as a band, recording Other Voices and Full Circle.
When I first read about these albums in Danny Sugerman and Jerry Hopkins' biography of Jim Morrison No One Here Gets Out Alive, my first thought was, "Damn, how depressing must that have been, going into the studio with Jim Morrison dead and buried in France?" But hearing both albums, now, my verdict is that I'm thrilled the remaining Doors continued to record. The demise of Morrison (rumors of him having faked his death aside) following the release of the astonishing L.A. Woman LP was the height of anti-climax -- or, maybe just too pat an ending to this real-life story.
By December 1971, The Doors as a trio released Other Voices:
1. "In the Eye of the Sun" – 4:48
2. "Variety Is the Spice of Life" – 2:50
3. "Ships With Sails" – 7:38
4. "Tightrope Ride" – 4:15
5. "Down on the Farm" – 4:15
6. "I'm Horny, I'm Stoned" – 3:55
7. "Wandering Musician" – 6:25
8. "Hang on to Your Life" – 5:36
Without Jim Morrison at the lyric and vocal helm, it's fair for the passing music fan to wonder, "What's the point?" Well, the point is that The Doors, musically, had much life left in them after July 1971.
The first track of the album, "In the Eye of the Sun," is a rock/blues fusion with Ray Manzarek on vocals. Musically, most of the tracks are absolutely amazing in the breath of sonic landscape they cover. Think of the numerous changes of mood and tempo in the song "L.A. Woman," and multiply that by three or five.
The lyrics throughout the album tend toward the crackpot mystical. I didn't detect any outright attempts to imitate Morrison's style; maybe that pseudo-L.A. mysticisim was more a product of the times.
"Variety is the Spice of Life" is sung by Robby Krieger, and sadly, the song is as lame as its title. Regardless of how weak or strong the vocal performances are (and they never rise far beyond weak), Krieger's guitar work mesmerizes. The man seems wonderfully incapable of repeating himself.
"Ships with Sails," musically, is classic Doors. Robby Krieger's guitar is reminiscent of "Love Street," "Blue Monday" and "Indian Summer." There is a stand-up bass played alongside Manzarek's subdued "Riders on the Storm" keyboards, which makes for a wonderfully atmospheric piece.
"Tighrope Ride" is a great little upbeat rock 'n' roll song that might really have turned into something with Jim Morrison at the microphone and handling the lyrics. Still, very much worth hearing. Manzarek, whose vocals are pretty lousy throughout the album, comes as close to singing well on this track.
"Down on the Farm" is another wonderful moody track that adds xylophone to the sonic mix. This is one of the songs that morphs and transitions through an improbable series of sound textures -- from hypnotic, drugged-out L.A. nodding-off in the sunset into jughead country hick twanging, from which the song draws its title.
If you've ever tried downloading rare Doors tracks you might have run into "I'm Horny, I'm Stoned." It's an upbeat sort of throwaway song sung by Robby Krieger. On its own, hearing it for the first time in 2001, I thought it an interesting novelty track that didn't hold anything beyond the first listening. But on this album it's a bit more of a kick.
"Wandering Musician" begins with slow, meditative keyboards that build into something rock steady and quite beautiful. As the track unfolds, Ray Manzarek's genius for invention is on full display. Nowhere on the album do The Doors attempt to recreate the past. These tracks are fresh compositions. Had the tracks been allowed to flourish as instrumentals, it would have been interesting what directions they might have taken not being hemmed in by lyrics.
"Hang on to Your Life" is upbeat, with a livelier performance from John Densmore than anywhere else on the album. Robby Krieger, once more, is in flying form with one fresh, signature Doors lick after another. This is a jazzier song in which each musician has truly shown up to play. Their inventiveness as a trio is painfully evident -- painfully, because the tragedy of The Doors' story is that neither this, nor their next album got much notice before utterly fading away.
There are no odes to Jim Morrison on the album. His absence is a gaping blackhole -- no sense drawing even more attention to that fact. For as blinding and impressive as the musicianship is here, The Doors were really not The Doors without Morrison. Manzarek and Krieger make their attempts on vocals, but I think this album might have been much better had it been conceived as straightahead instrumental. Jim Morrison was an exceptional rock 'n' roll singer and a first-rate writer of rock 'n' roll song lyrics. This album is all about the remaining Doors and the ideas they might have brought into the studio had Morrison arrived from France after the summer of '71, alive, refreshed and ready to follow-up L.A. Woman.
If you're a Jim Morrison fan, you probably won't find anything worthwhile in Other Voices because the album truly lives up to its title. For fans of The Doors' music, this will prove to be a surreal, interesting, and at times, weirdly satisfying journey through the veil of "what might have been." The imagination and talent of Jim Morrison is sorely missing, but to their credit the remaining Doors made no attempt to replace him -- either with a new vocalist or by their own efforts to round things out by writing lyrics of their own and doing vocals.
Music doesn't get much more haunting and interesting than this.