#thedoors — Public Fediverse posts

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

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

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

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

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/

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

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

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/

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.)

Ted Tocks Covers

July 3 - A Busy Day in Music History

Originally posted on July 3, 2022

An interesting look back on just one day in music history.

#crosbystillsandnash #therollingstones #brianjones #thedoors #jimmorrison #mississippifredmcdowell #davidBowie #LaurensHammond #threedognight

https://tedtockscovers.wordpress.com/2022/07/03/july-3-a-busy-day-in-music-history-musicislife-tedtockscovers-crosbystillsandnash-therollingstones-thedoors-mississippifredmcdowell-davidbowie-laurenshammond-threedognight/?fbclid=IwY2xjawSz74ZleHRuA2FlbQIxMQBzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEe_gXJtZmhG-knZozNal9rIWJDlcwse0N9Gm48OHQBMXJjY7ENEBDRVRyDHX8_aem_e-xnR9Vrm_MFWxtz01FlZQ

55 years ago today, #JimMorrison, American singer-songwriter ( #TheDoors) and #poet, died of #heartfailure allegedly caused be an accidental #heroinoverdose at 27.
#RIP 🎗

55 years ago today, #JimMorrison, American singer-songwriter ( #TheDoors) and #poet, died of #heartfailure allegedly caused be an accidental #heroinoverdose at 27.
#RIP 🎗

When it comes to discerning the difference between doom and stoner metal, I subscribe to the Ned Flanders school of thought. While doom tends towards darker atmospheres at a slower pace, stoner metal generally grooves with a chiller vibe. Now, there are (at least two) exceptions, and it gets kind of tricky, one of which is the compound stoner-doom genre. This label nicely fits Druidess, who have become a staple of the UK doom and stoner scenes since the release of their 2024 EP, Hermits and Mandrakes. Two years later, this Newcastle upon Tyne quartet has finally dropped its independently-released debut LP, Trip Meadow. Whether a British stoner-doom scenester or a newcomer, you’re surely wondering whether Druidess’s musical trip feels like strolling through a meadow or slogging through a jungle.

Druidess travel through the crevices of Mount Doom and the streets of Stonerville, but they also haunt the alleys of Psychedelphia. Guitarist Daniel Downing powers this English engine, doling out an array of Sabbathian riffs that brood, gallop, and descend, often in the same song (“A Forest Witch’s Daughter”). Beneath Downing is drummer Sam Armstrong, who hits hard but sprinkles in peppery jazz accents, keeping things rhythmically dynamic (“Descended from Giants”). The highlight, however, is vocalist Shonagh Brown, who knows how to hold a straightforward verse and develop a sticky chorus (“Knightingales”). Brown claims Joan Jett (The Runaways) as a major influence, but I also hear Laura Donnelly (King Witch) in her penchant for effortless power.1 Draping Druidess’s stoner-doom core in a psychedelic haze is keyboardist James Hill, whose organ plinks owe a debt of gratitude to The Doors while recalling a contemporary band like Green Lung. If the presence of organ sounds insufficiently psychedelic, then you’ll be glad to hear that a saxophone occasionally moans melancholic melodies2 (“Trip Meadow,” “A Witches’ Sabbath”). Aesthetically and performance-wise, Trip Meadow brings home the goods.

The songwriting, however, sometimes sails the Inconsistent Sea. The songs hovering around 4 minutes deliver memorable jolts of Iommian riffs and Jettian choruses (“Mandragora,” “The Hermit of Druid’s Temple”). Even when Druidess expand to the 6–7 minute range, they usually do a good job balancing subdued excursions and tempo shifts with solid songcraft (“The Forest Witch’s Daughter,” “A Witches’ Sabbath”). A few tracks, however, could’ve definitely been pared down, the major example being the 10-minute title track. “Trip Meadow” opens with a sultry saxophone groove before reducing to an ominous organ line obliterated by a crushing doom riff. From there, it takes too long for the song to get to its good (not great) chorus. At around the 8-minute mark, however, Druidess goes off on gothic riff variations, variations that would’ve hit even harder were they to have come sooner.

I must also mention that Trip Meadow shares much in common with Druidess’s previous jaunt. Five of the album’s seven songs, in fact, appear on the Hermits and Mandrakes EP. Druidess does sonically improve these cuts for Trip Meadow, especially the vocal mix. Whereas Brown sits awkwardly atop the band on the EP, her voice feels prominent but porous on the LP, commingling with the fuzzy guitar tones while still carrying the tunes. It is disappointing, however, that roughly 70 percent of the material here exists on another release. The two new songs, though quite good, are not the strongest material on display. As discussed, “Trip Meadow” embodies enormous potential only partly realized. Meanwhile, “Descended from Giants” contains mighty fine bass-work, a neat pseudo-breakdown, and killer concluding wails, but it also retreads ground already covered.

Trip Meadow trips in a few ways, but ultimately, it’s a trip worth taking. If you’re already familiar with the Hermits and Mandrakes EP, the debut LP will probably feel like a tedious (albeit sonically improved) trek through well-worn terrain. If you’re like I was, however, ignorant of the EP and desiring of quality stoner-doom, then you should definitely take a stroll through Druidess’s comforting meadow of fuzzed-out riffs and fantastic vocals. At 41 minutes, Trip Meadow gets away with its redundancies because it sounds so good. If subsequent musical adventures tighten the songwriting while exploring experimentation under a cozy psych aesthetic, Druidess may find Greatness as a future destination.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Instagram | Facebook
Releases Worldwide: June 26th, 2026

When it comes to discerning the difference between doom and stoner metal, I subscribe to the Ned Flanders school of thought. While doom tends towards darker atmospheres at a slower pace, stoner metal generally grooves with a chiller vibe. Now, there are (at least two) exceptions, and it gets kind of tricky, one of which is the compound stoner-doom genre. This label nicely fits Druidess, who have become a staple of the UK doom and stoner scenes since the release of their 2024 EP, Hermits and Mandrakes. Two years later, this Newcastle upon Tyne quartet has finally dropped its independently-released debut LP, Trip Meadow. Whether a British stoner-doom scenester or a newcomer, you’re surely wondering whether Druidess’s musical trip feels like strolling through a meadow or slogging through a jungle.

Druidess travel through the crevices of Mount Doom and the streets of Stonerville, but they also haunt the alleys of Psychedelphia. Guitarist Daniel Downing powers this English engine, doling out an array of Sabbathian riffs that brood, gallop, and descend, often in the same song (“A Forest Witch’s Daughter”). Beneath Downing is drummer Sam Armstrong, who hits hard but sprinkles in peppery jazz accents, keeping things rhythmically dynamic (“Descended from Giants”). The highlight, however, is vocalist Shonagh Brown, who knows how to hold a straightforward verse and develop a sticky chorus (“Knightingales”). Brown claims Joan Jett (The Runaways) as a major influence, but I also hear Laura Donnelly (King Witch) in her penchant for effortless power.1 Draping Druidess’s stoner-doom core in a psychedelic haze is keyboardist James Hill, whose organ plinks owe a debt of gratitude to The Doors while recalling a contemporary band like Green Lung. If the presence of organ sounds insufficiently psychedelic, then you’ll be glad to hear that a saxophone occasionally moans melancholic melodies2 (“Trip Meadow,” “A Witches’ Sabbath”). Aesthetically and performance-wise, Trip Meadow brings home the goods.

The songwriting, however, sometimes sails the Inconsistent Sea. The songs hovering around 4 minutes deliver memorable jolts of Iommian riffs and Jettian choruses (“Mandragora,” “The Hermit of Druid’s Temple”). Even when Druidess expand to the 6–7 minute range, they usually do a good job balancing subdued excursions and tempo shifts with solid songcraft (“The Forest Witch’s Daughter,” “A Witches’ Sabbath”). A few tracks, however, could’ve definitely been pared down, the major example being the 10-minute title track. “Trip Meadow” opens with a sultry saxophone groove before reducing to an ominous organ line obliterated by a crushing doom riff. From there, it takes too long for the song to get to its good (not great) chorus. At around the 8-minute mark, however, Druidess goes off on gothic riff variations, variations that would’ve hit even harder were they to have come sooner.

I must also mention that Trip Meadow shares much in common with Druidess’s previous jaunt. Five of the album’s seven songs, in fact, appear on the Hermits and Mandrakes EP. Druidess does sonically improve these cuts for Trip Meadow, especially the vocal mix. Whereas Brown sits awkwardly atop the band on the EP, her voice feels prominent but porous on the LP, commingling with the fuzzy guitar tones while still carrying the tunes. It is disappointing, however, that roughly 70 percent of the material here exists on another release. The two new songs, though quite good, are not the strongest material on display. As discussed, “Trip Meadow” embodies enormous potential only partly realized. Meanwhile, “Descended from Giants” contains mighty fine bass-work, a neat pseudo-breakdown, and killer concluding wails, but it also retreads ground already covered.

Trip Meadow trips in a few ways, but ultimately, it’s a trip worth taking. If you’re already familiar with the Hermits and Mandrakes EP, the debut LP will probably feel like a tedious (albeit sonically improved) trek through well-worn terrain. If you’re like I was, however, ignorant of the EP and desiring of quality stoner-doom, then you should definitely take a stroll through Druidess’s comforting meadow of fuzzed-out riffs and fantastic vocals. At 41 minutes, Trip Meadow gets away with its redundancies because it sounds so good. If subsequent musical adventures tighten the songwriting while exploring experimentation under a cozy psych aesthetic, Druidess may find Greatness as a future destination.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Instagram | Facebook
Releases Worldwide: June 26th, 2026

"A Beautiful Morning" is a song written by #FelixCavaliere and #EddieBrigati and recorded by #theRascals. Released in early 1968, it was the group's first track released after shortening their name from the Young Rascals. The single was one of the earliest released in #stereo, as #7inch singles generally were in mono. Together with #theDoors "Hello, I Love You", it's credited with changing the industry standard of #singles.
https://www.youtube.com/watch?v=cF3A89kPMv8

"A Beautiful Morning" is a song written by #FelixCavaliere and #EddieBrigati and recorded by #theRascals. Released in early 1968, it was the group's first track released after shortening their name from the Young Rascals. The single was one of the earliest released in #stereo, as #7inch singles generally were in mono. Together with #theDoors "Hello, I Love You", it's credited with changing the industry standard of #singles.
https://www.youtube.com/watch?v=cF3A89kPMv8

Bonjour les petit·es mammouth·es 🌱☕🎧
Avec The Doors ❤️ Light My Fire (Live At The Isle Of Wight Festival 1970)
https://www.youtube.com/watch?v=rj405bbDsoY
#theDoors #70smusic #livemusic

Bonjour les petit·es mammouth·es 🌱☕🎧
Avec The Doors ❤️ Light My Fire (Live At The Isle Of Wight Festival 1970)
https://www.youtube.com/watch?v=rj405bbDsoY
#theDoors #70smusic #livemusic

Love Her Madly 😜
#TheDoors
https://www.youtube.com/watch?v=B3zeeaZCpk0

Love Her Madly 😜
#TheDoors
https://www.youtube.com/watch?v=B3zeeaZCpk0

L.A. Woman 👩
#TheDoors
https://www.youtube.com/watch?v=O17i437KIBI

L.A. Woman 👩
#TheDoors
https://www.youtube.com/watch?v=O17i437KIBI

🇺🇦 #NowPlaying on #KEXP's #Early

The Doors:
🎵 Riders on the Storm

#TheDoors

https://kohra.bandcamp.com/track/the-doors-riders-on-the-storm-kohra-remix

https://open.spotify.com/track/3WoKO6hbT9uTs8aUSBQLo7

🎶 show playlist 👇
https://open.spotify.com/playlist/5F6PDmIbE0oCzbwTklfrLZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

🇺🇦 #NowPlaying on #KEXP's #Early

The Doors:
🎵 Riders on the Storm

#TheDoors

https://kohra.bandcamp.com/track/the-doors-riders-on-the-storm-kohra-remix

https://open.spotify.com/track/3WoKO6hbT9uTs8aUSBQLo7

🎶 show playlist 👇
https://open.spotify.com/playlist/5F6PDmIbE0oCzbwTklfrLZ

🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg

Touch Me ❣️
#TheDoors
https://www.youtube.com/watch?v=8lVqEchxIxw

Touch Me ❣️
#TheDoors
https://www.youtube.com/watch?v=8lVqEchxIxw

Break On Through (To the Other Side) 🍘
#TheDoors
https://www.youtube.com/watch?v=gdnzBNMfZfo

Break On Through (To the Other Side) 🍘
#TheDoors
https://www.youtube.com/watch?v=gdnzBNMfZfo

"Riders on the Storm" is a song by American #rock band #theDoors, released in June 1971 by #ElektraRecords as the second single from the band's sixth studio album, #LAWoman. It is known for being the last song that #JimMorrison recorded prior to his sudden death in #Paris on July 3, 1971. It reached number 14 on the U.S. #Billboard Hot 100, number 22 on the #UKSinglesChart, and number seven in the #Netherlands.
https://www.youtube.com/watch?v=7G2-FPlvY58

"Riders on the Storm" is a song by American #rock band #theDoors, released in June 1971 by #ElektraRecords as the second single from the band's sixth studio album, #LAWoman. It is known for being the last song that #JimMorrison recorded prior to his sudden death in #Paris on July 3, 1971. It reached number 14 on the U.S. #Billboard Hot 100, number 22 on the #UKSinglesChart, and number seven in the #Netherlands.
https://www.youtube.com/watch?v=7G2-FPlvY58

Break On Through (To the Other Side) ⏹️
#TheDoors
https://www.youtube.com/watch?v=-r679Hhs9Zs

Break On Through (To the Other Side) ⏹️
#TheDoors
https://www.youtube.com/watch?v=-r679Hhs9Zs

I’ve been oscillating between enthusiasm and skepticism about #TheDoors since 1967, but I’m in the middle of a straight-through listen of their debut #album at the moment and I’m taking the view they were a pretty good band … #ClassicRock #music #MusicSky #rockmusic m.youtube.com/watch?v=yIS9...

Take It as It Comes (2017 Rema...

I’ve been oscillating between enthusiasm and skepticism about #TheDoors since 1967, but I’m in the middle of a straight-through listen of their debut #album at the moment and I’m taking the view they were a pretty good band … #ClassicRock #music #MusicSky #rockmusic m.youtube.com/watch?v=yIS9...

Take It as It Comes (2017 Rema...

#nowplaying #thedoors #vinyl #vinyloftheday #vinyladdict #vinylcommunity #vinylcollection #joshi_es

Apocalypse Now (1979) - Music Video - The End
https://youtu.be/xpN54k93ugM?si=JH7gAllSaWe_P6J6

#Theend #thedoors #bye

People Are Strange 🇰🇿
#TheDoors
https://www.youtube.com/watch?v=uFL9oCstqg4

The Doors di nuovo al cinema. Il 13, 14 e 15 luglio il film di Oliver Stone tornerà nelle sale italiane nella versione The Final Cut restaurata in 4K con audio Dolby Atmos.

https://www.rollingstone.it/musica/news-musica/the-doors-di-oliver-stone-torna-al-cinema/1029737/

#music #rock #TheDoors #Doors #movie #cinema