#thedoors — Public Fediverse posts

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🎵 The Doors - Riders on the Storm

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https://lesonduvortex.net

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#VortexWave #TheDoors #PsychedelicRock #BluesRock #70s

And now our final piece: “The End” by The Doors (https://youtu.be/y61fuUIeJHw?is=nda211U0-6DJro-4)
#LaEsoterica #TheDoors #classicrock

And now our final piece: “The End” by The Doors (https://youtu.be/y61fuUIeJHw?is=nda211U0-6DJro-4)
#LaEsoterica #TheDoors #classicrock

And now our final piece: “The End” by The Doors (https://youtu.be/y61fuUIeJHw?is=nda211U0-6DJro-4)
#LaEsoterica #TheDoors #classicrock

And now our final piece: “The End” by The Doors (https://youtu.be/y61fuUIeJHw?is=nda211U0-6DJro-4)
#LaEsoterica #TheDoors #classicrock

And now our final piece: “The End” by The Doors (https://youtu.be/y61fuUIeJHw?is=nda211U0-6DJro-4)
#LaEsoterica #TheDoors #classicrock

I love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?

While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.

Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.

Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.

In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.

Rating: Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026

I love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?

While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.

Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.

Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.

In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.

Rating: Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026

I love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?

While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.

Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.

Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.

In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.

Rating: Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026

I love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?

While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.

Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.

Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.

In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.

Rating: Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026

I love album art you can hear, and fittingly, Coffin Hunters’ Cosmic Dawn churns with a groovy, psychedelic fusion of hard rock and heavy metal that spills off the cover. Plus, how can I resist a sassy reaper rooted in a strawberry-lemonade backdrop featuring a gateway to an alternate dimension? Cosmic Dawn is Coffin Hunters’ third album in under a decade, and on their previous LPs the Los Angeles foursome dispensed reliable earworms with a rockin’ retro swagger. On Cosmic Dawn, the crew adds a healthy dollop of synth into their formula and dips their toes into acid rock waters. With a new twist on Coffin Hunters’ recipe, is this the Cosmic Dawn of a triumphant new era?

While it’s clear that influences play a pivotal role in Coffin Hunters’ sound, it’s just as clear that the band works to establish an identity all their own. Debut The Fire Knight leaned heavily into throwback, traditional heavy metal and saw Coffin Hunters embracing bass-forward boogies and monster grooves that conjure the likes of Saxon, Jag Panzer, and Iron Maiden. Follow-up Wake the Dead shed the raw edges of The Fire Knight and adopted slicker riffs and a more polished production, even adding touches of southern flair recalling Molly Hatchet and some punchy bassmanship that reminds me of Mike Dirnt’s 90s Green Day contributions. On Cosmic Dawn, Coffin Hunters push their boundaries even further, fusing the synth stylings of The Doors and Uriah Heep into their collective personality and capping it with Floydian psychedelia. The sum total is an intriguing melting pot that incorporates seemingly disparate ingredients into a surprisingly cohesive dish.

Over the last decade, Coffin Hunters has retained their core contributors while exploring ever-expanding shades of hard rock and heavy metal. Other than replacing original drummer Jorge Guzman in 2020 with Brennan Kunkel, Coffin Hunters boasts remarkable lineup stability, and you can hear the effortless give and take during their well-crafted arrangements. Guitarist Eric Harriman’s fuzzy crunch strums and swirls around Brian Crites’ bass, which punctuates compositions with often understated yet always alluring performances, particularly on “Skeleton Key” and the title track. Keyboards round out Cosmic Dawn’s instrumentation, making an indelible mark as they imbue each song with hooks embedded so deeply and central to the album’s character (“Isle of the Dead”) that I marvel how Coffin Hunters wrote two albums without them. Vocalist Sean Rivera delivers a solid performance as well, guiding listeners through the album’s eight tracks with his steady croon.

Although Coffin Hunters nails most songwriting elements on Cosmic Dawn, evaluating the album in its entirety reveals a few cracks. Foremost is the lack of songwriting dynamics, as pacing and tempo consistency keep Cosmic Dawn’s forty-three minutes within too narrow a band and inhibit Coffin Hunters’ adventurousness. To be fair, “Last Nail in the Coffin” supplies an early downshift in pacing; however, it’s not enough to combat the uniformity that permeates the rest of the album. Even though most songs radiate head-bobbing energy on their own, strung together they too easily pass by in a pleasantly tame blur. Injecting a show-stopping moment or two that stretches the even-keeled energy into peaks and valleys would go a long way towards reinforcing Cosmic Dawn’s impact. Also, while Rivera’s vocals serve the music well enough, they tend to be a bit one-note and lack the bite of earlier albums. Exploring other styles, resurrecting The Fire Knight’s vocal grit, or bringing in a guest vocalist for a song or two would further aid Coffin Hunters in tackling Cosmic Dawn’s homogeneity.

In the end, Coffin Hunters winningly conjures the echoes of earlier generations. Their commitment to bringing the past into the present reminds me of what I love about Lynx’s Trinity of Suns and, to a lesser extent, Chalice and Owl’s releases from earlier this year. Unfortunately, Cosmic Dawn sticks too closely to its core sound over its runtime, leeching memorability through the back half. Even so, Coffin Hunters wholehearted embrace of keyboards is cause for celebration, as they add delightfully retro textures and cement a gnarly identity for the band. With a stronger emphasis on songwriting and performance diversity their next time around, Coffin Hunters might just strike gold.

Rating: Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Bitter End Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: July 17th, 2026

Light My Fire 🚪
#TheDoors
https://www.youtube.com/watch?v=cq8k-ZbsXDI

Light My Fire 🚪
#TheDoors
https://www.youtube.com/watch?v=cq8k-ZbsXDI

Light My Fire 🚪
#TheDoors
https://www.youtube.com/watch?v=cq8k-ZbsXDI

Light My Fire 🚪
#TheDoors
https://www.youtube.com/watch?v=cq8k-ZbsXDI

Light My Fire 🚪
#TheDoors
https://www.youtube.com/watch?v=cq8k-ZbsXDI

Break On Through (To the Other Side) 🔚
#TheDoors
https://www.youtube.com/watch?v=NFeUko-lQHg

Break On Through (To the Other Side) 🔚
#TheDoors
https://www.youtube.com/watch?v=NFeUko-lQHg

Break On Through (To the Other Side) 🔚
#TheDoors
https://www.youtube.com/watch?v=NFeUko-lQHg

Break On Through (To the Other Side) 🔚
#TheDoors
https://www.youtube.com/watch?v=NFeUko-lQHg

Break On Through (To the Other Side) 🔚
#TheDoors
https://www.youtube.com/watch?v=NFeUko-lQHg

People Are Strange 🫂
#TheDoors
https://www.youtube.com/watch?v=sezc05A4s2g

People Are Strange 🫂
#TheDoors
https://www.youtube.com/watch?v=sezc05A4s2g

People Are Strange 🫂
#TheDoors
https://www.youtube.com/watch?v=sezc05A4s2g

People Are Strange 🫂
#TheDoors
https://www.youtube.com/watch?v=sezc05A4s2g

People Are Strange 🫂
#TheDoors
https://www.youtube.com/watch?v=sezc05A4s2g

Un día como hoy hace 57 años #TheDoors lanzaba el disco The Soft Parade

https://open.spotify.com/album/75bLu4Ung5QbMdJYxx7wTI?si=KjpoQUhZSmugXUZFkglVHQ&utm_source=native-share-menu

Un día como hoy hace 57 años #TheDoors lanzaba el disco The Soft Parade

https://open.spotify.com/album/75bLu4Ung5QbMdJYxx7wTI?si=KjpoQUhZSmugXUZFkglVHQ&utm_source=native-share-menu

The Doors “meh” album …

#thedoors #classicrock #60srock #jimmorrison #pshychedelicrock #softparade #rock #rockmusic #music #musicsky #musiciansky #robbiekrieger #johndensmore #raymazarek July 18, 1969 ~ The Doors release their 4th album -- generally considered the least exciting of their works. Alec Dubro famously reviewed it for Rolling Stone in 1969 and called it, "sad." The band dramatically altered their raw, psychedelic sound by adding brass and orchestral…

https://robinbannks.com/2026/07/18/the-doors-meh-album/

The Doors “meh” album …

#thedoors #classicrock #60srock #jimmorrison #pshychedelicrock #softparade #rock #rockmusic #music #musicsky #musiciansky #robbiekrieger #johndensmore #raymazarek July 18, 1969 ~ The Doors release their 4th album -- generally considered the least exciting of their works. Alec Dubro famously reviewed it for Rolling Stone in 1969 and called it, "sad." The band dramatically altered their raw, psychedelic sound by adding brass and orchestral…

https://robinbannks.com/2026/07/18/the-doors-meh-album/

The Doors “meh” album …

#thedoors #classicrock #60srock #jimmorrison #pshychedelicrock #softparade #rock #rockmusic #music #musicsky #musiciansky #robbiekrieger #johndensmore #raymazarek July 18, 1969 ~ The Doors release their 4th album -- generally considered the least exciting of their works. Alec Dubro famously reviewed it for Rolling Stone in 1969 and called it, "sad." The band dramatically altered their raw, psychedelic sound by adding brass and orchestral…

https://robinbannks.com/2026/07/18/the-doors-meh-album/

The Doors “meh” album …

#thedoors #classicrock #60srock #jimmorrison #pshychedelicrock #softparade #rock #rockmusic #music #musicsky #musiciansky #robbiekrieger #johndensmore #raymazarek July 18, 1969 ~ The Doors release their 4th album -- generally considered the least exciting of their works. Alec Dubro famously reviewed it for Rolling Stone in 1969 and called it, "sad." The band dramatically altered their raw, psychedelic sound by adding brass and orchestral…

https://robinbannks.com/2026/07/18/the-doors-meh-album/

The Doors “meh” album …

#thedoors #classicrock #60srock #jimmorrison #pshychedelicrock #softparade #rock #rockmusic #music #musicsky #musiciansky #robbiekrieger #johndensmore #raymazarek July 18, 1969 ~ The Doors release their 4th album -- generally considered the least exciting of their works. Alec Dubro famously reviewed it for Rolling Stone in 1969 and called it, "sad." The band dramatically altered their raw, psychedelic sound by adding brass and orchestral…

https://robinbannks.com/2026/07/18/the-doors-meh-album/

The Crystal Ship Band
Homenaje a Jim Morrison
1943-1971

Invitados:
Rocket

Viernes 17 de Julio del 2026
19:01 Hrs.

Multiforo Alicia
Eligio Ancona #145
Santa María la Stoned Immaculated

#rock #clásico #homenaje #TheDoors #multiforoAlicia #México #CiudadDeMéxico #cultura #independiente

If you see a gray-haired hottie in shades strutting into work, listening to #TheDoors "Twentieth Century Fox," that's me! LOL #music

If you see a gray-haired hottie in shades strutting into work, listening to #TheDoors "Twentieth Century Fox," that's me! LOL #music

If you see a gray-haired hottie in shades strutting into work, listening to #TheDoors "Twentieth Century Fox," that's me! LOL #music

If you see a gray-haired hottie in shades strutting into work, listening to #TheDoors "Twentieth Century Fox," that's me! LOL #music

If you see a gray-haired hottie in shades strutting into work, listening to #TheDoors "Twentieth Century Fox," that's me! LOL #music

🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 The Doors - Riders on the Storm

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheDoors #PsychedelicRock #BluesRock #70s

Riders on the Storm 🏇
#TheDoors
https://www.youtube.com/watch?v=1hrgT_ZDUvs

Riders on the Storm 🏇
#TheDoors
https://www.youtube.com/watch?v=1hrgT_ZDUvs

Riders on the Storm 🏇
#TheDoors
https://www.youtube.com/watch?v=1hrgT_ZDUvs

Riders on the Storm 🏇
#TheDoors
https://www.youtube.com/watch?v=1hrgT_ZDUvs

Riders on the Storm 🏇
#TheDoors
https://www.youtube.com/watch?v=1hrgT_ZDUvs

"Moments of Vision soon fade away
but a magical moment is, here, today;
and all it will cost you,
is all of your life..."
SEEING THINGS by John E Marks https://medium.com/lit-up/seeing-things-44982e27905e
#poetry for #poetrylovers and fans of #TheDoors in the Lit Up press #litpub & #poetrycommunity

"Moments of Vision soon fade away
but a magical moment is, here, today;
and all it will cost you,
is all of your life..."
SEEING THINGS by John E Marks https://medium.com/lit-up/seeing-things-44982e27905e
#poetry for #poetrylovers and fans of #TheDoors in the Lit Up press #litpub & #poetrycommunity

55 anni fa morì #JimMorrison. Questo documentario credo sia il più completo sulla sua vita. #TheDoors - When You re Strange - Documentario (ITA) https://youtube.com/watch?v=YoAdU2pmk-4&is=F-dXG4Zk3wKqKw_6

@spettacoli

#music

55 anni fa morì #JimMorrison. Questo documentario credo sia il più completo sulla sua vita. #TheDoors - When You re Strange - Documentario (ITA) https://youtube.com/watch?v=YoAdU2pmk-4&is=F-dXG4Zk3wKqKw_6

@spettacoli

#music

55 anni fa morì #JimMorrison. Questo documentario credo sia il più completo sulla sua vita. #TheDoors - When You re Strange - Documentario (ITA) https://youtube.com/watch?v=YoAdU2pmk-4&is=F-dXG4Zk3wKqKw_6

@spettacoli

#music

55 anni fa morì #JimMorrison. Questo documentario credo sia il più completo sulla sua vita. #TheDoors - When You re Strange - Documentario (ITA) https://youtube.com/watch?v=YoAdU2pmk-4&is=F-dXG4Zk3wKqKw_6

@spettacoli

#music

55 anni fa morì #JimMorrison. Questo documentario credo sia il più completo sulla sua vita. #TheDoors - When You re Strange - Documentario (ITA) https://youtube.com/watch?v=YoAdU2pmk-4&is=F-dXG4Zk3wKqKw_6

@spettacoli

#music

Waiting for the Sun

#TheDoors #WaitingForTheSun #60smusic #60srock #classicrock #rockmusic #music #musicsky #musiciansky #jimmorrison #robbiekrieger #johndensmore #raymzarek The Doors release their third album on July 3, 1968. It became the band's only number one album (topping the charts for four weeks) and included their second US number one single, "Hello, I Love You" (for two weeks starting August 3, 1968). Stereogum said, " "This is the Doors at their strangest,…

https://robinbannks.com/2026/07/03/waiting-for-the-sun/

Waiting for the Sun

#TheDoors #WaitingForTheSun #60smusic #60srock #classicrock #rockmusic #music #musicsky #musiciansky #jimmorrison #robbiekrieger #johndensmore #raymzarek The Doors release their third album on July 3, 1968. It became the band's only number one album (topping the charts for four weeks) and included their second US number one single, "Hello, I Love You" (for two weeks starting August 3, 1968). Stereogum said, " "This is the Doors at their strangest,…

https://robinbannks.com/2026/07/03/waiting-for-the-sun/

Waiting for the Sun

#TheDoors #WaitingForTheSun #60smusic #60srock #classicrock #rockmusic #music #musicsky #musiciansky #jimmorrison #robbiekrieger #johndensmore #raymzarek The Doors release their third album on July 3, 1968. It became the band's only number one album (topping the charts for four weeks) and included their second US number one single, "Hello, I Love You" (for two weeks starting August 3, 1968). Stereogum said, " "This is the Doors at their strangest,…

https://robinbannks.com/2026/07/03/waiting-for-the-sun/

Waiting for the Sun

#TheDoors #WaitingForTheSun #60smusic #60srock #classicrock #rockmusic #music #musicsky #musiciansky #jimmorrison #robbiekrieger #johndensmore #raymzarek The Doors release their third album on July 3, 1968. It became the band's only number one album (topping the charts for four weeks) and included their second US number one single, "Hello, I Love You" (for two weeks starting August 3, 1968). Stereogum said, " "This is the Doors at their strangest,…

https://robinbannks.com/2026/07/03/waiting-for-the-sun/

Waiting for the Sun

#TheDoors #WaitingForTheSun #60smusic #60srock #classicrock #rockmusic #music #musicsky #musiciansky #jimmorrison #robbiekrieger #johndensmore #raymzarek The Doors release their third album on July 3, 1968. It became the band's only number one album (topping the charts for four weeks) and included their second US number one single, "Hello, I Love You" (for two weeks starting August 3, 1968). Stereogum said, " "This is the Doors at their strangest,…

https://robinbannks.com/2026/07/03/waiting-for-the-sun/

Der Wahnsinn begann mit einem Befehl: „Terminate with extreme prejudice.“ Die Mission: einen amerikanischen Offizier zu liquidieren, weil er sich der Logik des Krieges in Vietnam entzogen hat. Ausgestiegen. Oder aufgestiegen? In einen Zustand, in dem Vernunft nicht mehr messbar ist. „Apocalypse Now“ ist kein Antikriegsfilm. Es ist ein Dokument des imperialen Wahns. Er glaubt nicht an Erlösung. Auch nicht an Erkenntnis. Eigentlich glaubt er an nichts mehr. Ein monströses Anti-Krieg-Monument von Francis Ford Coppola. (3Sat, Wh.)

Der Wahnsinn begann mit einem Befehl: „Terminate with extreme prejudice.“ Die Mission: einen amerikanischen Offizier zu liquidieren, weil er sich der Logik des Krieges in Vietnam entzogen hat. Ausgestiegen. Oder aufgestiegen? In einen Zustand, in dem Vernunft nicht mehr messbar ist. „Apocalypse Now“ ist kein Antikriegsfilm. Es ist ein Dokument des imperialen Wahns. Er glaubt nicht an Erlösung. Auch nicht an Erkenntnis. Eigentlich glaubt er an nichts mehr. Ein monströses Anti-Krieg-Monument von Francis Ford Coppola. (3Sat, Wh.)

Der Wahnsinn begann mit einem Befehl: „Terminate with extreme prejudice.“ Die Mission: einen amerikanischen Offizier zu liquidieren, weil er sich der Logik des Krieges in Vietnam entzogen hat. Ausgestiegen. Oder aufgestiegen? In einen Zustand, in dem Vernunft nicht mehr messbar ist. „Apocalypse Now“ ist kein Antikriegsfilm. Es ist ein Dokument des imperialen Wahns. Er glaubt nicht an Erlösung. Auch nicht an Erkenntnis. Eigentlich glaubt er an nichts mehr. Ein monströses Anti-Krieg-Monument von Francis Ford Coppola. (3Sat, Wh.)