The End (The Doors song)
"The End" is an epic song by the American rock band the Doors. Lead singer Jim Morrison initially wrote the lyrics about his break up with his girlfriend Mary Werbelow, but it evolved through months of performances at the Whisky a Go Go into a much longer song. The Doors recorded a nearly 12-minute version for their self-titled debut album, which was released on January 4, 1967.
|Song by the Doors|
|from the album The Doors|
|Released||January 4, 1967|
|Recorded||Hollywood, California, August 1966|
"The End" was ranked at number 336 on 2010 Rolling Stone magazine's list of The 500 Greatest Songs of All Time. The song's guitar solo was ranked number 93 on Guitar World's "100 Greatest Guitar Solos of All Time".
Lyrics and recording
This section contains too many and overly lengthy quotations for an encyclopedic entry. (November 2019)
In an interview in 1969, Morrison explained about the lyrics:
[E]very time I hear that song, it means something else to me. I really don't know what I was trying to say. It just started out as a simple goodbye song ... Probably just to a girl, but I could see how it could be goodbye to a kind of childhood. I really don't know. I think it's sufficiently complex and universal in its imagery that it could be almost anything you want it to be.
When interviewed by Lizze James, he pointed out the meaning of the verse "My only friend, the End":
Sometimes the pain is too much to examine, or even tolerate ... That doesn't make it evil, though – or necessarily dangerous. But people fear death even more than pain. It's strange that they fear death. Life hurts a lot more than death. At the point of death, the pain is over. Yeah – I guess it is a friend.
Shortly past the midpoint of the nearly 12-minute-long album version, the song enters a spoken word section with the words, "The killer awoke before dawn/he put his boots on" That section of the song reaches a dramatic climax with the lines, "Father / Yes son? / I want to kill you / Mother, I want to ..." (with the next words screamed out unintelligibly) Morrison had worked on a student production of Oedipus Rex at Florida State University. Ray Manzarek, the former keyboard player of the Doors, explained:
He was giving voice in a rock 'n' roll setting to the Oedipus complex, at the time a widely discussed tendency in Freudian psychology. He wasn't saying he wanted to do that to his own mom and dad. He was re-enacting a bit of Greek drama. It was theatre!
In John Densmore's autobiography Riders on the Storm, he recalls when Morrison explained the meaning:
At one point Jim said to me during the recording session, and he was tearful, and he shouted in the studio, 'Does anybody understand me?' And I said yes, I do, and right then and there we got into a long discussion and Jim just kept saying over and over kill the father, fuck the mother, and essentially boils down to this, kill all those things in yourself which are instilled in you and are not of yourself, they are alien concepts which are not yours, they must die. Fuck the mother is very basic, and it means get back to essence, what is reality, what is, fuck the mother is very basically mother, mother-birth, real, you can touch it, it's nature, it can't lie to you. So what Jim says at the end of the Oedipus section, which is essentially the same thing that the classic says, kill the alien concepts, get back reality, the end of alien concepts, the beginning of personal concepts.
According to Mojo magazine,
Comprehensively wrecked, the singer [Morrison] wound up lying on the floor mumbling the words to his Oedipal nightmare, 'Fuck the mother, kill the father.' Then, suddenly animated, he rose and threw a TV at the control room window. Sent home by (producer Paul A.) Rothchild like a naughty schoolkid, he returned in the middle of the night, broke in, peeled off his clothes, yanked a fire extinguisher from the wall and drenched the studio. Alerted, Rothchild came back and persuaded the naked, foam-flecked Morrison to leave once more, advising the studio owner to charge the damage to Elektra.
The genesis and the use of the word "fuck" is described by Michael Hicks as follows:
During this period, Morrison brought vocal ideas into the instrumental solo section. Between the organ and guitar solos he approached the microphone and intoned two brief lines from the middle of the song "When the Music's Over": "Persian night, babe / See the light, babe." More strikingly, when the retransition motive began, he held the microphone against his mouth and screamed the word "fuck" repeatedly, in rhythm, for three measures or more (the barking sound that one hears during this passage on most live recordings). This was probably not a spontaneous vulgarism, but rather, a kind of quotation from another Doors song, "The End." Paul Rothchild explains that in the Oedipal section of the studio recording of "The End," Morrison shouted the word "fuck" over and over "as a rhythm instrument, which is what we intended it to be." That "rhythm instrument" was buried in the studio mix of "The End." Now, forcefully superimposed on "Light My Fire", it shocked many a fan who had come to hear the group's most famous song.
"The End" was recorded live in the studio with no overdubbing. Two takes were recorded, with reportedly the second being used for the album. It was the last song the original group performed at their last concert on December 12, 1970, at The Warehouse in New Orleans.
While the 1967 release of the song is the best-known version, there are other, slightly different versions available.
- A significantly shorter edit, sometimes erroneously referred to as a "single version", was released on the CD version of the Greatest Hits album. The edited version is almost half the length of the original.
- The version used in Francis Ford Coppola's film Apocalypse Now is different from the 1967 release, being a remix specifically made for the movie. The remixed version emphasizes the vocal track at the final crescendo, highlighting Morrison's liberal use of scat and expletives. The vocal track can partly be heard in the 1967 release, although the expletives are effectively buried in the mix (and the scat-singing only faintly audible), and Morrison can only be heard clearly at the end of the crescendo with his repeated line of "Kill! Kill!". This version originated with the original master copy from Elektra's tape vaults; when Walter Murch, the Sound Designer, requested copies of the song from Elektra Records for use in the film, the studio unknowingly sent him the original master tracks to use, which explains the different (some would say better) sonic quality of the song used in the film.
- A new 5.1 mix was issued with the 2006 box set Perception. The new 5.1 mix has more sonic details than the original 1967 mix.
- While it is officially recognized that the 1967 version is an edit consisting of two different takes recorded on two straight days—the splice being right before the line "The killer awoke before dawn", and easily pinpointed by cut cymbals—the full takes, or the edited parts, have yet to surface.
- In the version recorded live in Madison Square Garden, the lyric "Mother, I want to fuck you" can be heard clearly, instead of the unintelligible screaming of the studio version.
- March 1967 (13:54), released on Live at the Matrix
- July 5, 1968, Hollywood Bowl (15:42), released on In Concert
- January 17, 1970, New York City, Show 2 (17:46), released on Live in New York
- May 8, 1970, Cobo Arena, Detroit (17:35), released on Live in Detroit
- June 6, 1970, Pacific Coliseum, Vancouver, Canada (17:58), released on Live in Vancouver 1970
Marilyn Manson cover
|Single by Marilyn Manson|
|Released||November 22, 2019|
|Marilyn Manson singles chronology|
Marilyn Manson recorded a cover version of "The End" for use on the soundtrack to the upcoming miniseries The Stand, in which the eponymous vocalist will appear as the character "The Trashcan Man". The song was played over the PA system during dates of the "Twins of Evil: Hell Never Dies Tour", the band's summer 2019 co-headlining tour with Rob Zombie. The track was produced by country musician Shooter Jennings, who also produced Marilyn Manson's upcoming eleventh studio album, We Are Chaos. The pair previously collaborated on a version of David Bowie's "Cat People (Putting Out Fire)" for Jennings's 2016 album Countach (For Giorgio).
The track was released for digital download and on streaming services on November 22, 2019, while the song was scheduled to be issued on a picture disc 7" vinyl via Loma Vista Recordings on March 6, 2020. This vinyl was to be limited to 2,000 copies worldwide, with all pre-orders accompanied by an immediate download of the track. Its artwork consisted of an original watercolor piece painted by the vocalist. A music video based on the single's artwork was created by Zev Deans, which utilized watercolor self-portraits created by Manson. For unknown reasons, the 7" vinyl release was canceled, and the song and its music video were removed from all download, streaming and video hosting services shortly after release.
Manson had previously recorded a version of The Doors' song "Five to One", released as a b-side on their 2000 single "Disposable Teens". Manson later performed "Five to One" – as well as "Love Me Two Times" and "People Are Strange" – alongside Ray Manzarek and Robby Krieger at the 2012 Sunset Strip Music Festival. In 2016, Manson also performed "Not to Touch the Earth" with guitarist Johnny Depp during an event at Amoeba Music.
|US Alternative Digital Songs (Billboard)||20|
|US Hard Rock Digital Songs (Billboard)||9|
|US Rock Digital Songs (Billboard)||17|
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