THE DOORS’ “BACK DOOR MAN”: ORIGIN AND DEVELOPMENT

"Back Door Man" is undoubtedly one of The Doors' most iconic songs. It was recorded in August 1966 for their debut album, "The Doors", released in January 1967.

The tune had already become part of their live repertoire by that time, having been included in their setlist since the band's early days in 1966.

From then on, the group played it at almost every live performance until they stopped touring in 1970.

In this article, we will explore the inception and development of the composition. Then, we will examine The Doors' work on the song in detail and reveal some of its musical secrets.

This blues was written by Willie Dixon in 1960. However, he did not record it until 1970, aged 55, as the opening track of his album "I Am the Blues", where he was accompanied by excellent musicians (link here).

The earliest version of "Back Door Man" was released in 1961 by Howlin' Wolf (link here), a great artist who had been dividing his rough-and-tough style between blues and rhythm and blues since the early 1950s.

In this song, his powerful, almost spoken voice overpowers the insistent, unvaried rhythm of the dry-sounding drums.

This blues is characterized by a simple arrangement (electric guitar, electric bass and drums).

Within this austere instrumentation, there is only one concession to ornamentation, confined to the background: the quick, imaginative piano figures played by Otis Spann.

Overall, Howlin' Wolf's song is quite different musically and rhythmically from the one that would appear five years later as track number seven of The Doors' debut album.

In fact, the group did not take inspiration from this Mississippi-born musician's tune, but from John Hammond Jr.'s later elaboration of "Back Door Man".

In 1964, Hammond Jr. released his cover of the song on his album "Big City Blues" (link here).

This version of "Back Door Man" has a more sensual and mellow musical atmosphere and vocal performance than Howlin' Wolf's, which was abrasive and uncompromising.

With its whispered guitar phrasing, harmonica solo and maracas accompaniment, Hammond Jr.'s adaptation seems less inspired and authentic than the original.

Nevertheless, it is Hammond Jr. who introduces the pulsating rhythm played by the electric guitar and bass, which The Doors will pick up and accentuate.

Additionally, this version of "Back Door Man" sees a change in vocal style, from Howlin' Wolf's hard, strongly expressive, tinsel-free approach to Hammond Jr.'s softer, subdued yet incisive style.

Thus, the latter artist is credited with introducing the two main elements in the evolution of "Back Door Man": the vocal style and the thumping rhythmic pattern. Two years later, with the necessary modifications, these elements would distinguish the song recorded by The Doors.

Shortly after the Californian group began playing live with their final line-up in November 1965, they discovered Hammond Jr.'s track on a vinyl record found at the home of guitarist Robby Krieger's parents (as reported in an interview).

A few months later, in August 1966, they recorded "Back Door Man" for their debut release, placing it at the beginning of its B-side.

The Doors surpassed all previous attempts by recording a superior version of "Back Door Man". They kept the track within the blues framework of the original while incorporating several innovative elements.

The sharpness of the rhythm section is provided by the electric bass of session musician Larry Knetchel, played in unison with the bass drum and Krieger’s inspiring guitar work.

The figure reiterated by the guitar throughout the arrangement deserves a special mention because of its elongated final double note which gives the song a defiant, highly distinctive quality (min. 0.05, min. 0.29, min. 0.51 and so on).

The tune’s penetrating and dark rhythm is made even more effective by Manzarek's use of the piano. In fact, Manzarek played the latter instrument in a percussive way, with continuous, pounding chords that emphasize the brash air The Doors wanted to give the song.

The entire track is enveloped by the long, high, flowing sound of the electric organ, also played by Manzarek. Perhaps it is this keyboard that most distinguishes the musical profile of The Doors' "Back Door Man”.

The tense balance between the assertiveness of the rhythm section and the strong sensual charge generated by both Morrison's voice and Manzarek's electric organ is almost perfect.

In terms of ideas, Krieger's overdubbed electric guitar solo, which comes halfway through the song, is not among his best. Nonetheless, the guitarist successfully combines a bluesy feeling with a dynamic rock attitude through the repeated use of banding technique.

Completing the picture is, of course, the unmistakable and magnetic voice of Jim Morrison. While respecting the blues nature of the piece, he imbues it with a transgressive and revolutionary spirit.

His vocal performance sits at the exciting and suggestive intersection of anger, arrogance, seduction and carnal passion. No one could be more appropriate or compelling for this song and its lyrics.

The Doors were unaware that, between Hammond Jr.'s version in 1964 and their own in August 1966, two other groups had attempted to revive the composition, both achieving interesting and positive results.

First, there was an Australian band called Pink Finks. Formed in 1965, they released a single that year with "Back Door Man" as the A-side.

Inspired by Howlin' Wolf's original, their interpretation of the song retained the harmonica and maracas used by Hammond Jr. in 1964.

Although they were moving away from blues towards rhythm and blues, their rendition was very good and, having been recorded a year before The Doors', confirmed the popularity of this tune among mid-1960s musicians.

The American group Blues Project also anticipated The Doors by a few months with their cover of "Back Door Man" (link here).

Their debut album was recorded live at the Café Au Go Go in New York and released in March 1966. This version of the Howling Wolf blues is sped up and played with technical excellence thanks to the group's considerable instrumental skills.

Transposed into a rhythm and blues format, their version is notable for the hard pushing, extremely engaging rhythm created by the synergy between the drums and the electric bass.

This concludes our exploration of this blues tune. Overall, The Doors' version was the most complete, convincing and compelling, to the extent that the Californian quartet is still inextricably linked with it to this day.

P.S.: My book "The Doors Through Strange Days"- The most comprehensive journey ever made through The Doors' second LP, is available on Amazon.com, .uk, .mx, .it, etc.

Here’s a link:

Amazon – “The Doors Through Strange Days”