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'''''The Doors''''' is the debut studio album by the American rock band [[the Doors]], released on January 4, 1967, by [[Elektra Records]]. It was recorded in August 1966 at [[Sunset Sound Recorders]], in Hollywood, California, under the production of [[Paul A. Rothchild]]. The album features the extended version of the band's breakthrough single "[[Light My Fire]]" and the lengthy closer "[[The End (The Doors song)|The End]]" with its [[Oedipus complex|Oedipal]] spoken word section.<ref name=thedoors.com /> Various publications, including ''[[BBC]]'' and ''[[Rolling Stone]]'', have
The Doors worked on the material of their debut album throughout 1966 at various locations and stages, such as the [[Whisky a Go Go]]. The album's recording started after their dismissal from the venue, having just signed with Elektra Records. The recording of ''The Doors'' established the band's wide range of musical influences, such as [[jazz]], classical, [[blues]], pop, [[Rhythm and blues|R&B]] and rock music.<ref name="Gallucci" /> It has been largely viewed as an essential part of the [[psychedelic rock]] evolution, while also being acknowledged as a source of inspiration to numerous other works.
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=== Reissues ===
''The Doors''
On September 14, 2011, ''The Doors'' was released on hybrid stereo-multichannel [[Super Audio CD]] by Warner Japan in their Warner Premium Sound series.<ref>[http://wmg.jp/sacdcd/?icid=top110810#header Warner Premium Sound 14 September releases] {{webarchive|url=https://web.archive.org/web/20110813061646/http://wmg.jp/sacdcd/?icid=top110810|date=August 13, 2011}} (in Japanese). Retrieved November 3, 2011.</ref> [[Analogue Productions]] reissued the album on hybrid [[Super Audio CD|SACD]] and double 45 RPM vinyl, both editions were mastered by [[Doug Sax]] and Sangwook Nam at The Mastering Lab; the CD layer of the Super Audio CD contains the original stereo mix while the SACD layer contains Botnick's 2006 5.1 [[Surround sound|surround]] mix.<ref>{{cite AV media notes|title=The Doors|others=The Doors|year=2013|type=Booklet|publisher=Analogue Productions (CAPP 74007 SA)}}</ref><ref>{{cite AV media notes |title=The Doors |others=The Doors |year=2011 |type=Media notes |publisher=Analogue Productions (APP 74007-45)}}</ref> In 2017, a deluxe edition was released in commemoration of the album's 50th anniversary, and includes the original stereo and mono mixes, as well as a compilation of songs recorded live at The Matrix in San Francisco on March 7, 1967. This edition was remastered by Botnick from "recently discovered original master tapes".<ref name=2017reissue>{{cite AV media notes|title=The Doors|others=The Doors|year=2017|type=Booklet|publisher=Elektra (R2-558716)}}</ref>
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| rev10Score = B−<ref name="Christgau">{{cite news |last=Christgau |first=Robert |date=December 20, 1976 |title=Christgau's Consumer Guide to 1967 |newspaper=[[The Village Voice]] |page=69 |location=New York |url=https://news.google.com/newspapers?id=6N9LAAAAIBAJ&pg=6134,4535773 |access-date=June 22, 2013}}</ref>
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In a contemporary review for ''[[Crawdaddy!]]'' magazine, founder and critic [[Paul Williams (music journalist)|Paul Williams]] hailed ''The Doors'' as "an album of magnitude" and described the band as creators of "modern music", with which "contemporary 'jazz' and 'classical' composers must try to measure up". Williams added: "The birth of the group is in this album, and it's as good as anything in rock. The awesome fact about the Doors is that they will improve."<ref>{{cite web |url=https://www.thedoors.com/news/doors-review-crawdaddy-1184 |last=Williams |first=Paul |date=May 5, 1967 |title=The Doors Review – Crawdaddy! |via=thedoors.com |access-date=August 31, 2015 |url-status=dead |archive-url=https://web.archive.org/web/20150910111602/https://www.thedoors.com/news/doors-review-crawdaddy-1184 |archive-date=September 10, 2015 }}</ref> ''[[Record Mirror]]'' was similarly positive to the record: "[''The Doors''] for Elektra is wild, rough and although it's subtle in places, the overall sound is torrid. They're blues-based and get quite an effective sound."<ref>{{cite magazine |title=''The Doors'' – Review |magazine=[[Record Mirror]] |orig-year=1967 |date=April 22, 2020 |url=https://www.instagram.com/p/B_Svi4VHyJd/ |via=Instagram}}</ref> According to Densmore, [[the Beatles]] had reportedly bought ten copies of the album,{{sfn|Densmore|1990|p=128}} and [[Paul McCartney]] has claimed that following the album's release, he wanted his band to
[[Robert Christgau]] was less enthusiastic in his column for ''[[Esquire (magazine)|Esquire]]'', recommending the album but with reservations; he approved of Manzarek's organ playing and Morrison's "flexible though sometimes faint" singing while highlighting the presence of a "great original hard rock" in "[[Break On Through (To the Other Side)|Break on Through]]" and clever songs such as "Twentieth Century Fox", but was critical of more "esoteric" material such as the "long, obscure dirge" "[[The End (The Doors song)|The End]]".<ref>{{cite magazine|last=Christgau|first=Robert|date=June 1967|url=http://www.robertchristgau.com/xg/bk-aow/columns.php|title=Columns|magazine=[[Esquire (magazine)|Esquire]]|access-date=April 23, 2016|url-status=live|archive-url=https://web.archive.org/web/20160428110900/http://www.robertchristgau.com/xg/bk-aow/columns.php|archive-date=April 28, 2016}}</ref> He also found Morrison's lyrics often self-indulgent, particularly lines like "our love becomes a funeral pyre", which he said spoiled "[[Light My Fire]]", and "the nebulousness that passes for depth among so many lovers of rock poetry" on "The End".<ref>{{cite journal|journal=Cheetah|date=December 1967|url=http://www.robertchristgau.com/xg/music/lyrics-che.php|title=Rock Lyrics Are Poetry (Maybe)|last=Christgau|first=Robert|access-date=April 23, 2016|url-status=live|archive-url=https://web.archive.org/web/20160412032721/http://www.robertchristgau.com/xg/music/lyrics-che.php|archive-date=April 12, 2016}}</ref>
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