16 Underrated Doors Songs You Need To Add To Your Playlist

Few artists create as many "overrated or underrated?" arguments as The Doors have over the last 49 years, since their original skyrocket to fame on the strength of their hit "Light My Fire". Those who argue for the former very rarely have heard the band's non-hits, and I've constantly been shocked by how few Doors songs the general public actually knows. I'm here to change that, or at least attempt to, by sharing my favorite gems that have been tossed aside in recent years. Comment if you have any favorites I've skipped over. In the meantime, keep breaking on through.


"End of the Night"
(from The Doors, 1967)
Since "Light My Fire" and "The End" are often lauded as the highlights of The Doors' debut release, people think it's okay to just skip over the other tracks. I've even seen several people on RateYourMusic relate to this track as filler. Ugh, how I loathe that word. One man's filler is another man's treasure, as I always say. This slinky, noir-shaded number is not only a great showcase for Jim's crooning voice, but Robby's woozy guitar is absolutely killer here. How this gem has been ignored for so long is beyond me.

"Hyacinth House"

(from L.A. Woman, 1971)

This one's quite strange, even for The Doors. With almost comical lines such as "I see the bathroom is clear" and unsettling harmonies, this number is often seen as an ode to Jim's longing to escape fame, and according to semi-reliable source of Lyric Genius, it was based off of the Greek Myth surrounding the origin of hyacinths. I'm really not a fan of the L.A. Woman album as a whole (cue gasp from Doors diehards everywhere), but this has always been a highlight for me.

"Love Street"

(from Waiting For The Sun, 1968)

At first, I felt like I was cheating with this one, because I assumed that most Doors fans knew the story of the infamous house on "Love Street" in Laurel Canyon. Nevertheless, it's too near to my heart not to share it here. It's a rare incident where The Doors aren't their usual, bluesy-sounding selves, and they instead toy around with dreamy, sunshine pop, and musically, they do a wonderful job with it. The sound of Robby's guitar lines interweaving with Ray's piano lines is to die for. The fact that it's about Pam (Morrison's girlfriend from The Doors' origins to his death) is probably the real reason why I'm so attached though.

"Moonlight Drive"

(from Strange Days, 1967)

Jesus, everything about this song deserves praise. Every instrument, including the vocals, is absolutely perfect, note-for-note. The lyrics are great, the song's buildup is kick-ass, the solo is amazing. What else can I say?

"My Eyes Have Seen You"

(from Strange Days, 1967)

This is another track that I've seen labelled as "filler", but when I listen to it, I feel like it's a quintessential Doors track that anyone interested needs to hear. Again, it's musically great, and almost verges on being psychedelic. It's songs like these that make you realize how ahead of the curve The Doors were.

"Queen of the Highway"

(from Morrison Hotel, 1970)

If someone were to take me to the chair, and make me pick a single Doors song to be my favorite, I might just say this one. That decision is probably just sentimental, but the keyboard in this song is phenomenal, Jim's songwriting is at its best, the musical break is on point, the guitar near the ending is great, the outro is wonderful...so it can't just be me. So much beauty in only 2 and a half minutes. Untouchable.

"Runnin' Blue"

(from The Soft Parade, 1969)

This tribute to Otis Redding gets a lot of shit from fans, mostly due to the country-ish verses sung by Robby. I don't necessarily see that part as a negative thing. It's more like something that makes the song unlike anything The Doors ever made before, which it is. If anything, this is the band at its most experimental. It's pretty cool, and to the naysayers, it could be a lot worse.

"Shaman's Blues"

(from The Soft Parade, 1969)

I'll be the first to admit that The Soft Parade is a little bit of a mess. In my opinion, this song saves it almost single-handedly. Stop saying it's "boring" and "underwhelming", because I think it's honestly one of the best things The Doors ever did. It's emotional agony wrapped up into a five-minute blues-rock song, and for a band that doesn't get emotional that often, this aches in an absolutely wonderful way. I've been listening to it endlessly lately, and I haven't gotten tired of it yet. Robby and Jim are great here as usual, but I think John Densmore gets the MVP award for this one. How is he still not regarded as one of the greatest drummers in rock?

"The Spy"

(from Morrison Hotel, 1970)

I was surprised to see some hate for this one online, since I've always regarded it as a highlight on my favorite Doors album. The instrumentation is near-perfect, as usual, but Jim's delivery completely makes the entire thing. If you've never gotten chills during that climax, I sincerely don't know how. It's just magic. I've also always wondered what would've happened if they had made this the last song on Morrison Hotel. Instead of just rolling your way out on "Maggie M'Gill", imagine Jim near-whispering "I can see/what you do/and I know..." being the last thing you hear on the record. It makes the whole mood even more intense. Alas, what's done is done. It's still great, either way.

"Strange Days"

(from Strange Days, 1967)

Psychedelic, man. The organ is fantastic, the drumming is great, Jim's delivery is great, the lyrics are cool, the baseline is cool, and the chord progression is kick-ass. There's really nothing to complain about. The echo on the vocals that make you feel like you're in space when you're listening to it is the cherry on top.

"Twentieth Century Fox"

(from The Doors, 1967)

How this song never became one of The Doors' biggest hits is beyond me. To begin with, it's an ear-worm in the best possible sense, the keys, guitar, and drums are all superb, and it makes you want to get up and dance, man. Okay, the lyrics get cheesy at a few points, but Jim pulls it off. This one came up often on the various "Underrated Doors Songs" lists on the internet, and with good reason. I mean, just listen to that chorus!

"Unhappy Girl"

(from Strange Days, 1967)

Another great example of how ahead of their time The Doors really were. That intro is woozy and off-kilter in the best sense, and the keys, guitar, and mystical lyrics weave together perfectly to create this wonderfully odd pop confection. At first, I was going to say that if I have any complaint, it's that it's much too short. I now retract that statement, since it would probably lose the magic had it gone on for much longer. Part of what makes it wonderful is how it's here and gone in a flash, leaving you in its path as dizzy as the song itself. An actual perfect song.

"Who Do You Love?"

(from Absolutely Live, 1970)

This might actually be the best cover of this classic Bo Diddley song I've ever heard (aside from Stephen Stills' 30 second acoustic rendition, of course). It was never recorded by the band in-studio, but the versions that exist truly stand as a testament to what a great live band The Doors really were. Jim's vocals are great, the whole band is solid, and you can feel the energy any time anyone starts playing. That's what any good band should feel like, in my opinion.

"Who Scared You?"

(non-album single, B-side of "Wishful Sinful", 1969)

There are people who will never get over the fact that The Doors didn't put this song on The Soft Parade, and I am admittedly one of those people. It's a solid song to begin with, and unlike several of the songs on the album, its horn accompaniment actually suits it and enhances the song as a whole. At least eventually got its due and made it onto Weird Scenes Inside The Goldmine. 

"You Make Me Real"

(from Morrison Hotel, 1970)

Speaking of great energy, this is probably the most energetic studio performance The Doors ever committed to tape. The song grooves the whole way through, and really drives home to attitude that the band was done with some of the bullshit that had ensued during The Soft Parade era, and now The Doors were back to doing what they do best: great, driving blues-rock. They certainly deliver that here.

"You're Lost, Little Girl"

(from Strange Days, 1967)

We end the list on a mysterious and slightly somber note, with this little gem that has been lost itself over time. Though the lyrics themselves are simple, the melody and chord progression are magnificent, and Robby and Ray both get a chance to really shine on their respective instruments. Another song that just screams "The Doors" when you hear it. Beautiful in the strangest and most troubled way possible.

The Velvet Underground, "The Velvet Underground" (1969), Track-By-Track Album Review

Sometimes, after listening to some of Lou Reed's solo material, even (what is, in my opinion) his masterpiece, Berlin, I find myself extremely tired. Some of his work is just exhausting to me, and that's the only way I can describe it. It's not a bad thing...just a lot to take in, between over-the-top production, menacing lyrics that grab you by the throat and don't let go, tragic operas, and terrifying character portraits. Let's just say that Lou Reed's music as a whole is not for the weak of heart. His early days in The Velvet Underground have always been, for me, a different entity all together; really, it's the Lou Reed that I identify the most with. It disheartens me to know that he would probably hate me for even attempting to review his work, knowing his absolute disgust for, and abuse towards, those involved in analyzing or writing about his work. However, I might go as far as saying that this album has more or less changed my life, and my perspective on music, so I'm writing this anyway.

This album, like all other Velvet Underground albums, is completely different from the every other album they did, and really quite different from a lot of what was popular at the time. It was, without a doubt, their most quiet, personal album, with Lou's most personal lyrics. Besides being made up of some killer songs, it's the minimal production, fits of spontaneous laughter audible throughout, delicate vocals by Reed, Doug Yule, and even Moe Tucker, and constant experimentation that make this album, in my opinion, the best that the band ever did. I'll try to express my love for without getting too sentimental. It's hard when you've held something so close to you for so long. We're trying.

A1) "Candy Says"
This could be it right here: my overall favorite song on the album. The fact that it's about Warhol "superstar", transgender Candy Darling, makes it even more heartbreaking. Anyone who suggests Lou was a heartless asshole has obviously never listened to this album. Doug Yule, who claimed he didn't know what he was singing about at the time, does a beautifully convincing job on the vocals. The instrumentation is gentle, making room for the lyrics, and don't even get me started on the "do, do-wahs" at the end; just sheer gorgeousness. For a while, I had this little arts and crafts thing on my wall that I made from magazine clippings that said, "What do you think I'd see if I could walk away from me?" I'm sorry now that I took it down. 5/5

A2) "What Goes On"

I'll warn you now: it's nothing like the Beatles song of the same name that has Ringo on lead vocals and it (in my opinion) the worst song on the otherwise impeccable Rubber Soul. This is a lot better. It's also one of the heavier tracks on the album. Along with just being a good rock song, it's also subtly experimental, taking two guitar solos, one dubbed over the other, and having them playing at the same time. The result is a headache-inducing, drone-like, sort of amazing guitar sound. I will also admit that this is constantly stuck in my head. I've discovered that there's no shame in succumbing to it. 4/5

A3) "Some Kinda Love"

I have a strange history with this song. The first time I heard it, I remember thinking, "Why does anyone like this? It's so boring! All it is is Lou muttering nonsense over some repetitive acoustic guitar." Ah, how young and foolish we all are at one time or another. The truth is, Lou's delivery makes the entire song. From the way he drawls "and of course, you're a boreeeee," in his native New York accent (as a fellow native New Yorker, I appreciate this), to the little "ooohs" he sicks in between random phrases, to the way you can hear the smile in his voice when he sings certain lines, I've come to like this song a lot. I sent it to a couple of different people on the day that gay marriage was made legal in all 50 states. It seemed to fit perfectly: "And no kinds of love/are better than others". 4.5/5

A4) "Pale Blue Eyes"

This song is easily the most popular song on the album, and I think I know why. It's repetitive, but there's a delicate, childlike quality to it that you don't get out of a whole lot of Velvet Underground songs, which could make it appealing to even someone who wasn't a VU fan. Lots of people have covered this, especially in the past few years in the wake of Lou's death, including one of my other songwriting heroes, Paul Simon, who was good friends with Mr. Reed. What sort of pissed me off about his live performance of the song, which otherwise was lovely, is that he cut out the entire last verse, which, for lack of a better term, is the whole punchline! If you ask me, it's the thing that makes the song uniquely Lou's; there always has to be a blemish in the world that appears to be perfect at first. If anything, it makes the song even more heartbreaking, and certainly more memorable than it would've been without. 4/5

A5) "Jesus"

I know I said "Candy Says" was my favorite song on this album, but this one always rivals it for me. I once read an article that described this song as "achingly ethereal", which might sound pretentious, but that's how it feels to me: completely blissful and calm, with a current of angst and sadness running underneath. If you've ever gone to sleep crying, and then woken up the next morning feeling serene and slightly less sad, but still sad nonetheless, that's what I think this sounds like. The delicate harmony vocals and wonderful guitar break are the perfect finishing touch to this masterpiece of a pop song, and this masterpiece of an album side. 5/5

B1) "Beginning to See the Light"

After that first, mostly acoustic, kind of sullen first side, it's a good idea to start off the second side with something fun. This song is not necessarily Lou's best songwriter, but he sounds like he's having the time of his life, as far as his playing and singing go; every "ALRIGHT!", "OOOOH!" and giggle is absolutely infectious. The line "There are problems in these times/But, woo!/None of them are mine!" should say it all. The "How does it feel..." outro is a nice touch, too. 4/5

B2) "I'm Set Free"

This is another one that I didn't completely get at first. I guess I thought it was boring or something, but now when I listen to it, it's kind of extraordinary. It sounds like freedom, plain and simple. The crescendos and decrescendos separating the verses from the choruses accent the mood perfectly. The sound of the guitar during the solo might've been what sold me; it cuts through all other sound, and the result is beautiful. The gentle backing vocals that start during the second verse are another subtle touch that just bring the song to the next level. Beautiful. 4.5/5

B3) "That's the Story of My Life"

If anything qualifies as filler on this album, it's this song. Not bad, but forgettable in general. 3/5

 

B4) "The Murder Mystery"

This experimental track often gets a lot of hate from fans, mostly the ones who think "Sister Ray" from White Light/White Heat are the end-all, be-all of anything VU ever did. I personally find this song far more interesting than that track, due to the ramblings that make up the lyrics, of which there are four sets, read or sung by each of the four members. This showed everyone who thought that the band would be nothing without John Cale that Reed hadn't completely lost his appetite for avant-garde experimentation. 4/5

B5) "After Hours"

Can you imagine this album being closed out by any other song? I certainly can't. Maureen Tucker has shared the story of this song's recording many a time, saying how nervous she was to sing by herself for the first time, and insisted she and Lou record together rather than overdubbing her voice later. Despite her nerves, Moe absolutely nails it in the most splintered, imperfect way. Lou said he never could've sung it himself, and I do agree that Maureen brings an extra element of childlike wonder to the song. It also helps that the song itself is lovely to begin with; I personally enjoy this one more than Moe's other, slightly more famous vocal on "I'm Sticking With You". It's really kind of beautiful in the strangest way, and I love it. 5/5

Final Grade: A

Thanks for reading!!! Comment what I should review next!!