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The Soft Parade

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The Soft Parade
The Doors - The Soft Parade.jpg
Studio album by
the Doors
ReleasedJuly 18, 1969 (1969-07-18)
Recorded1968–1969
StudioElektra Sound West, Hollywood, California
Genre
Length33:50
LabelElektra
ProducerPaul A. Rothchild
The Doors chronology
Waiting for the Sun
(1968) 		The Soft Parade
(1969) 		Morrison Hotel
(1970)
Singles from The Soft Parade
  1. "Touch Me"
    Released: December 1968
  2. "Wishful Sinful"
    Released: March 1969
  3. "Tell All the People"
    Released: June 1969
  4. "Runnin' Blue"
    Released: August 1969

The Soft Parade is the fourth studio album by American rock band the Doors, released on July 18, 1969, by Elektra Records. Most of the album was recorded following a grueling tour during which the band was left with little time to compose new material. Producer Paul A. Rothchild recommended a total departure from the Doors' first three albums: develop a fuller sound by incorporating brass and string arrangements provided by Paul Harris. Lead singer Jim Morrison, who was dealing with personal issues and focusing more on his poetry, was less involved in the songwriting process, leaving guitarist Robby Krieger to increase his own creative output.

The album peaked at number six on the Billboard 200, but it failed to retain audiences in the UK and other European countries that their previous album, Waiting for the Sun, had succeeded in engaging. Three preceding singles, "Touch Me", "Wishful Sinful", and "Tell All the People", were included on The Soft Parade, with the former becoming another Top 10 hit for the Doors. Another single, "Runnin' Blue", also followed the album's distribution. Upon release, The Soft Parade was denounced by both music critics and the band's underground music scene followers, who viewed the album as the Doors' trending into popular music. Over time, historians have reassessed the album and its critical standing has slightly improved, but it is still widely considered the group's weakest effort with Morrison.

Background[]

By mid-1968, the Doors had established themselves as one of the most popular groups in the US. The band's third studio album, Waiting for the Sun, released in July of the same year, became the Doors' only number one hit on the Billboard 200, while also spawning their second single to peak at number one with "Hello, I Love You".[1][2] The album was the first commercial breakthrough for the band in the UK, reaching number 16 on the UK Albums Chart. After the release of Waiting for the Sun, the Doors commanded vast sums of money to perform before large crowds in arenas such as the L.A. Forum, the Hollywood Bowl, and Madison Square Garden.[3] Additionally, local Los Angeles Top 40 radio stations, particularly KHJ Radio, which had previously refused to play the band's records, began sponsoring the Doors' live performances.[4] Initial sessions for the album occurred on 26 July 1968 when the band recorded "Wild Child" and "Wishful Sinful" ("Easy Ride" was a Waiting for the Sun leftover, captured on 3 March 1968). In September 1968, the group played dates in Europe, along with Jefferson Airplane, before ending their long, grueling touring schedule with nine concerts back in the US. While the 1968 tours managed to capitalize on the chart success of Waiting for the Sun, it also left little time for the Doors to compose new songs for The Soft Parade, having already exhausted all the material from Morrison's songbooks.[5]

Morrison, a self-professed "acid-evangelist of rock", had been fascinated with the public media outlets and frequently coined buzzwords and phrases to generate attention for the Doors. The band's rise to stardom and publications drawing Morrison as a sex symbol, however, drastically modified his outlook on pop culture.[6] Throughout 1968, Morrison's behavior became increasingly erratic: he began drinking heavily and distanced himself from studio work to focus on his more immediate passions, poetry and film making.[7] At the time, Morrison was also struggling with anxiety, and felt like he was on the brink of a nervous breakdown. He considered quitting the Doors, but was persuaded by keyboardist Ray Manzarek to finish recording The Soft Parade before making such a decision.[8][9]

In November 1968, the band entered the newly established studio Elektra Sound West on La Cienega Boulevard to continue work on The Soft Parade, a process that was not completed until early 1969. Without any album-ready material to work with, record producer Paul A. Rothchild took control of the recording sessions and insisted on numerous retakes of songs, much to the group's indignation.[10] "It was like pulling teeth to get Jim into it", sound engineer Bruce Botnick recalled. "It was bizarre ... the hardest I ever worked as a producer."[11] Rothchild, who by this time was addicted to cocaine and incredibly strict in his leadership, caused severe strife in the studio, especially with his advisor Jac Holzman, who argued that the drive for perfection was "grinding them [The Doors] into the ground".[10] The album was by far the most expensive by the group, costing US$80,000 to create in contrast to the US$10,000 required for their debut.[12][13]

Music[]

The Doors wanted to capitalize on the experimental climate in popular music at the time that brought about groundbreaking works like the Beatles' White Album and Jimi Hendrix's Electric Ladyland, while redefining what could be accomplished within the rock medium.[10] Looking for a new, creative sound, Rothchild hired Paul Harris to arrange string and orchestral arrangements for the Los Angeles Philharmonic and local jazz horn players. Session musicians Doug Lubahn and Harvey Brooks also served as additional bass guitarists.[12][14] George Harrison of the Beatles attended several of the sessions and likened the album's musical style to the Beatles recordings.[15] The music on The Soft Parade incorporated art rock,[16] blues rock,[17] jazz fusion,[17] experimental[18] and psychedelic rock styles.[17] Drummer John Densmore and Manzarek, who both had jazz backgrounds, asserted they were receptive to Rothchild's jazz concept: "We'd [Densmore and Manzarek] always talk about using some jazz musicians – let's put some horns and strings on, man, let's see what it would be like to record with a string section and a big horn section", recalled Manzarek.[19]

Although Morrison was less involved in the Doors' studio sessions at this point, he demanded the band receive individual writing credits after initially refusing to sing Krieger's lyric, "Can't you see me growing, get your guns" on the track "Tell All the People".[20] As a result, The Soft Parade was the first Doors album to list band members separately rather than collectively as "Songs by the Doors".[21] Krieger continued to hone his songwriting skills to fill the void left by Morrison's absence. He wrote half of the album's tracks, while Morrison is credited with the other half (they share co-credits on "Do It"), ultimately creating an album that lacks the unified musical stance found on the Doors' early works.[12]

Krieger's songs, written almost independently from the rest of the band, most noticeably incorporated the jazz influences that had been a part of the prevailing trend of popular rock music. Only his tracks, "Tell All the People", "Touch Me", "Runnin' Blue", and "Wishful Sinful", were written to include string and horn arrangements; Morrison, though not totally opposed to the concept, declined to go in the direction Densmore and Manzarek championed.[22] "Touch Me" (penned under the working titles "Hit Me" and "I'm Gonna Love You") was chosen as the first single taken from The Soft Parade, becoming one of the Doors' biggest hits. The band brought in the saxophone player Curtis Amy to perform a solo instrumental on the song, which was influenced by the works of John Coltrane.[23]

Journalists Nathan Brackett and Christian Hoard found "Wild Child" as "Morrison parodying himself".[24] "Shaman's Blues" and the title track were both examples of the singer's penchant for using symbolism and autobiographical insights.[22] The latter song, a stylistic return to a lengthy track closing a Doors album, was penned with the help of Rothchild, who organized pieces of Morrison's poetry with him to align rhythmically and conceptually. Introduced with a mock-fiery sermon by Morrison, "The Soft Parade" displays his Southern roots through his portrayal as a preacher. The song's ambiance is heightened by the striking imagery which outlines a need for sanctuary, escape, and pleasure.[25] Critic Doug Sundling noted that "The Soft Parade", with its display of acid rock and sunshine pop influences, is more diverse than any other Morrison composition.[26]

Release and reception[]

Professional ratings
Review scores
SourceRating
AllMusic3.5/5 stars[27]
MusicHound Rock3.5/5[28]
PopMatters7/10 stars[29]
The Rolling Stone Album Guide3/5 stars[30]
Slant Magazine2.5/5 stars[31]
The Village VoiceB–[32]

The Soft Parade was released on July 18, 1969.[33] It peaked at number six on the Billboard 200, during a chart stay of 28 weeks, but fared poorly in the UK where the album failed to reach the charts.[34] The album's front cover photograph was taken by Joel Brodsky, who had also been responsible for the cover of the Doors' debut album and Strange Days.[35] Three singles had already been released prior to the album's distribution, much more than usual for a Doors album.[12] The "Touch Me" single was released in December 1968 and became one of the band's biggest hits, reaching number three on the Billboard Hot 100.[23] Two additional singles, "Wishful Sinful" and "Tell All the People", were also distributed but fared less favorably, peaking at numbers 44 and 57 respectively.[36] Following the release of The Soft Parade, the Doors earned another minor hit with the "Runnin' Blue" single, charting at number 64 upon its release in August 1969.[22]

Although the album was a success at establishing the Doors in the pop market, it was rejected by the group's original audience and the underground scene, particularly for the album's use of horns and strings.[37] The underground press was less than complimentary, with David Walkey, writing in New York's East Village Other, stating the album was "badly messed up by the syrupy arrangement of Paul Rothchild and could be renamed, 'The Rothchild Strings Play the Doors'."[38] Another scathing review by Miller Francis Jr. of The Great Speckled Bird expressed disdain for the Doors' attempt at art rock, feeling The Soft Parade "comes on so pretentious, like something written rather than something sung."[38] Rob Cline of Northwest Passage questioned why a band like the Doors needed to record with violins and trombones when the group was "best when getting it on straight and hard as witness to their first two albums".[38] In Rolling Stone, Alec Dubro found much of the songs to be "pale shadows of their earlier works".[39] Reviewing for The Village Voice in January 1970, Robert Christgau wrote: "No one even thinks about the Doors any more—such is fame—but this is an acceptable record, with predictable pretensions and two or three first-rate songs ('Touch Me,' 'Wild Child'). Nothing to get excited about, either way."[32]

Writer Richard Riegel evaluated the immediate impact of The Soft Parade on the Doors' reputation in the magazine Creem in 1981: "If Waiting for the Sun set a lot of older hippies to questioning their former perceptions of the Doors as Avatars of the avant-garde, then The Soft Parade finished off their interest in the group."[38] In a review for AllMusic, Richie Unterberger was slightly more positive, writing that "about half the record is quite good, especially the huge hit 'Touch Me' (their most successful integration of orchestration)".[27] However, Unterberger felt it is the "weakest studio album recorded with Jim Morrison", as well as "their weakest set of material, low lights including filler like 'Do It' and 'Runnin' Blue'."[27] Writer James Riordan opined that, compared to prior albums, Morrison's contributions to The Soft Parade were lackluster, putting his credibility as a serious poet and songwriter on the line.[22] Author Danny Sugerman in No One Here Gets Out Alive wrote "overall the lyric impact was less than it had been on previous albums ... horns by some of the top local studio jazz musicians further blurred the once-lucid Doors sound".[21]

Reissues[]

In 1988 the album was digitally remastered by Bruce Botnick and Paul A. Rothchild at Digital Magnetics using the original master tapes.[40] It was remastered again in 1999 for The Complete Studio Recordings box set; this edition was remastered by Bernie Grundman and Bruce Botnick at Bernie Grundman Mastering using 96khz/24bit technology. It was also released as a standalone CD release.[41] In 2006 the album was reissued on a CD/DVD set featuring the 2006 stereo and 5.1 remixes done by Bruce Botnick for the Perception box set, and it includes a clip of the Doors performing the title track live.[42][43] The 2006 stereo remix was also released on a standalone CD release in 2007 with six bonus tracks including the rarities "Whisky, Mystics, and Men" and "Push Push"; this edition was mastered by Bruce Botnick at Uniteye.[44][45] In 2009, it was reissued on 180g vinyl featuring the original mix, which was cut by Bernie Grundman.[46] The same year, Audio Fidelity reissued the album on 24kt gold CD, remastered by Steve Hoffman.[47] Analogue Productions also reissued the album on hybrid SACD (2013) and double 45 RPM vinyl (2012); 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 Bruce Botnick's 2006 5.1 surround mix.[48][49] In 2019, Rhino Records released a 1-LP/3-CD deluxe edition to commemorate the album's 50th anniversary release; this edition was remastered by Bruce Botnick utilizing the Plangent Process. The CDs are encoded with MQA technology.[50]

Track listing[]

Side one
No.TitleWriter(s)Length
1."Tell All the People"Robby Krieger3:21
2."Touch Me"Krieger3:12
3."Shaman's Blues"Jim Morrison4:49
4."Do It"Morrison, Krieger3:08
5."Easy Ride"Morrison2:43
Side two
No.TitleWriter(s)Length
1."Wild Child"Morrison2:36
2."Runnin' Blue"Krieger2:27
3."Wishful Sinful"Krieger2:58
4."The Soft Parade"Morrison8:36
40th Anniversary Bonus Tracks
No.TitleWriter(s)Length
10."Who Scared You"Morrison, Krieger3:58
11."Whiskey, Mystics and Men" (Version 1) 2:28
12."Whiskey, Mystics and Men" 3:04
13."Push Push" (Jam) 6:05
14."Touch Me" (Dialogue) 0:28
15."Touch Me" (Take 3) 3:40
50th Anniversary Edition Second CD Bonus Tracks
No.TitleWriter(s)Length
10."Who Scared You"Morrison, Krieger3:55
11."Tell All the People" (Doors-only mix) 3:23
12."Touch Me" (Doors-only mix with new Krieger overdub) 3:12
13."Runnin' Blue" (Doors-only mix with new Krieger overdub) 2:29
14."Wishful Sinful" (Doors-only mix with new Krieger overdub) 2:57
15."Who Scared You" (Doors-only mix) 3:18
16."Roadhouse Blues" (Manzarek on vocals) 5:28
17."(You Need Meat) Don't Go No Further" (Manzarek on vocals) 4:29
18."I'm Your Doctor" (Manzarek on vocals) 3:56
19."Touch Me" (Doors-only mix) 3:13
20."Runnin' Blue" (Doors-only mix) 2:29
21."Wishful Sinful" (Doors-only mix) 2:57
50th Anniversary Edition third CD bonus tracks
No.TitleLength
22."I Am Troubled"0:39
23."Seminary School (a.k.a. Petition the Lord With Prayer)"2:19
24."Rock Is Dead" (Complete version)64:04
25."Chaos"3:06

Personnel[]

Details are taken from the 2007 Rhino Records CD 40th Anniversary Edition liner notes with accompanying essays by Bruce Botnick and David Fricke and may differ from other sources.[51]

The Doors

Additional musicians

Technical

  • Paul A. Rothchild – production
  • Bruce Botnick – engineering
  • Joel Brodsky – photography
  • Edgar Bernstein – photography
  • Peter Schaumann – inside illustration
  • William S. Harvey – art direction and design

Charts[]

Album[]

Chart Year Peak
Billboard 200 1969 6[34]

Singles[]

Year Single (A-side / B-side) Chart Peak
1968 "Touch Me" / "Wild Child" Billboard Hot 100 3[36]
1969 "Wishful Sinful" / "Who Scared You" Hot 100 44[36]
1969 "Tell All the People" / "Easy Ride" Hot 100 57[36]
1969 "Runnin' Blue" / "Do It" Hot 100 64[36]

Certifications[]

Region Certification Certified units/sales
Australia (ARIA)[52] Gold 35,000^
Canada (Music Canada)[53] Platinum 100,000^
United Kingdom (BPI)[54] Silver 60,000^
United States (RIAA)[55] Platinum 1,000,000^

^ Shipments figures based on certification alone.

References[]

  1. ^ Riordan 1991, pp. 241–243.
  2. ^ Joynson 1987, p. 70.
  3. ^ Riordan 1991, pp. 249–251.
  4. ^ Riordan 1991, p. 255.
  5. ^ Hopkins & Sugerman 1980, pp. 185–186.
  6. ^ Riordan 1991, pp. 211–212.
  7. ^ Riordan 1991, pp. 313–316.
  8. ^ Davis 2004, p. 181.
  9. ^ Hopkins & Sugerman 1980, p. 190.
  10. ^ a b c Wall 2014, pp. 234–236.
  11. ^ Riordan 1991, p. 319.
  12. ^ a b c d Weidman 2011, pp. 108–109.
  13. ^ Hopkins & Sugerman 1980, p. 247.
  14. ^ Wawzenek, Bryan (April 13, 2015). "The Secret History of the Doors' Bass Players". Ultimate Classic Rock. Retrieved April 14, 2017.
  15. ^ Davis 2004, p. 295.
  16. ^ Sundling 1990, p. 101.
  17. ^ a b c Gear 2015, pp. 85–86.
  18. ^ Gear 2015, p. 101.
  19. ^ Riordan 1991, p. 320.
  20. ^ Densmore 1990, p. 187.
  21. ^ a b Hopkins & Sugerman 1980, pp. 226–227.
  22. ^ a b c d Riordan 1991, pp. 338–340.
  23. ^ a b Weidman 2011, p. 85.
  24. ^ Brackett & Hoard 2008, p. 255.
  25. ^ Riordan 1991, p. 337.
  26. ^ Sundling 1990, pp. 115–116.
  27. ^ a b c Unterberger, Richie. "The Soft Parade – The Doors | Songs, Reviews, Credits, Awards | AllMusic". AllMusic. Retrieved December 21, 2014.
  28. ^ Graff, Gary; Durchholz, Daniel (eds.) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 358. ISBN 1-57859-061-2.CS1 maint: extra text: authors list (link)
  29. ^ Ingalls, Chris (November 7, 2019). "The Doors' Soft Parade Gets the Deluxe Edition Treatment and a Chance for Reassessment". PopMatters. Retrieved December 19, 2021.
  30. ^ "The Doors: Album Guide". rollingstone.com. Archived from the original on January 6, 2013. Retrieved August 31, 2015.
  31. ^ Cinquemani, Sal (April 18, 2007). "The Doors: The Soft Parade | Album Review | Slant Magazine". Slant Magazine. Retrieved December 21, 2014.
  32. ^ a b Christgau, Robert (January 15, 1970). "Consumer Guide (6)". The Village Voice. Retrieved December 18, 2018.
  33. ^ "The Doors music". The Doors.com. Retrieved April 14, 2017.
  34. ^ a b "The Doors Billboard 200". Billboard. Retrieved April 14, 2017.
  35. ^ Weidman 2011, p. 114.
  36. ^ a b c d e "The Doors The 'Hot' 100". Billboard. Retrieved April 14, 2017.
  37. ^ Riordan 1991, p. 336.
  38. ^ a b c d Sundling 1990, pp. 100–101.
  39. ^ Dubro, Alec (August 23, 1969). "The Soft Parade – Review". Rolling Stone. No. 40. New York City. p. 35. Retrieved November 13, 2015.
  40. ^ The Soft Parade (Booklet). The Doors. Elektra Records. 1988. 7559-75005-2.CS1 maint: others in cite AV media (notes) (link)
  41. ^ Botnick, Bruce (1999). The Soft Parade (booklet). Elektra Records. 75005-2.
  42. ^ The Soft Parade (Booklet). The Doors. Elektra. 2006. R2 77645-D.CS1 maint: others in cite AV media (notes) (link)
  43. ^ Berman, Stuart (December 5, 2000). "The Doors Perception". Pitchfork. Retrieved April 21, 2017.
  44. ^ The Soft Parade (Booklet). The Doors. Elektra. 2007. R2 101187.CS1 maint: others in cite AV media (notes) (link)
  45. ^ Cinquemani, Sal (March 1, 2007). "The Doors – A Retrospective". Slant. Retrieved April 21, 2017.
  46. ^ The Soft Parade (Media notes). The Doors. Elektra. 2009. EKS-75005.CS1 maint: others in cite AV media (notes) (link)
  47. ^ The Soft Parade (Booklet). The Doors. Audio Fidelity. 2009. AFZ 038.CS1 maint: others in cite AV media (notes) (link)
  48. ^ The Soft Parade (Media notes). The Doors. Analogue Productions. 2012. APP 75005-45.CS1 maint: others in cite AV media (notes) (link)
  49. ^ The Soft Parade (Booklet). The Doors. Analogue Productions. 2013. CAPP 75005 SA.CS1 maint: others in cite AV media (notes) (link)
  50. ^ The Soft Parade (Booklet). The Doors. Elektra. 2019. R2 596001.CS1 maint: others in cite AV media (notes) (link)
  51. ^ Botnick, Bruce; Fricke, David (2007). Soft Parade (40th Anniversary edition CD booklet). The Doors. Rhino Records.
  52. ^ "ARIA Charts – Accreditations – 1995 Albums" (PDF). Australian Recording Industry Association.
  53. ^ "Canadian album certifications – The Doors – The Soft Parade". Music Canada.
  54. ^ "British album certifications – Doors – The Soft Parade". British Phonographic Industry.Select albums in the Format field. Select Silver in the Certification field. Type The Soft Parade in the "Search BPI Awards" field and then press Enter.
  55. ^ "American album certifications – The Doors – The Soft Parade". Recording Industry Association of America.

Bibliography[]

  • Brackett, Nathan; Hoard, Christian (January 2008). "The Doors". The New Rolling Stone Album Guide. Simon & Schuster. ISBN 978-1439109397.
  • Davis, Stephen (2004). Jim Morrison: Life, Death, Legend. Penguin Publishing. ISBN 1-59240-064-7.
  • Densmore, John (1990). Riders on the Storm: My Life with Jim Morrison and the Doors. Delacorte Press. ISBN 978-0-385-30033-9.
  • Gear, Gillian (2015). The Doors: The Illustrated History. Voyager Press. ISBN 978-0-7603-4690-7.
  • Hopkins, Jerry; Sugerman, Danny (1980). No One Here Gets Out Alive. Grand Central. ISBN 978-0-446-69733-0.
  • Joynson, Vernon (1987). The Acid Trip: A Complete Guide to Psychedelic Music. Babylon Books. ISBN 0-907188-24-9.
  • Riordan, James (1991). Break on Through: The Life and Death of Jim Morrison. Harper Collins Publishing. ISBN 978-0-688-11915-7.
  • Sundling, Doug (1990). The Doors: Artistic Vision. Castle Communications. ISBN 1-86074-139-8.
  • Wall, Mick (2014). Love Becomes a Funeral Pyre. Orion Publishing Group. ISBN 978-1-61373-408-7.
  • Weidman, Rich (2011). The Doors FAQ: All That's Left to Know About the Kings of Acid Rock. Backbeat Books. ISBN 978-1-61713-017-5.
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