THE DOORS' DRUMMER J. DENSMORE: HIS USE OF THE "LATIN BEAT"

 

John Densmore’s drumming helped create the highly original and evocative sound that characterized the Doors.

One of the most distinctive percussive elements he brought to the group’s early music is the “Latin beat”.

This term refers to the transposition of certain drum and percussion accents typical of Latin American music into the rock genre.

This instrumental feature is particularly evident in some of the tracks on the first two LPs by The Doors, which were recorded in August 1966 and in the spring-summer of 1967, respectively.

The Latin beat was seamlessly integrated into the band’s music without altering its rock-based sound. This exotic yet unobtrusive rhythmic addition allowed the Californian group to give their songs unusual cadences and nuances, setting them apart from other artists of the time.

Let us now examine the role and effect of this drumming style in each of The Doors” compositions in which John Densmore employed it.

 

"Break On Through (To The Other Side)" (from “The Doors” LP, recorded in 1966).

This rock staple’s verse is led by an unmistakable bossa nova rhythm. Born in the 1950s, bossa nova was a fusion of cool jazz and samba, a traditional form of Brazilian music.

This peculiarity can be noticed, for example, from min. 0:00 to min. 0:15, but it is repeated throughout the verses.

The trademark of this rhythmic pattern is represented by Densmore’s drumstick on the edge of the snare drum.

 

"The Crystal Ship" (from “The Doors” LP, recorded in 1966)

The choruses are characterized by a style of Latin drumming similar to “Cha Cha Cha”.

Densmore uses a less dynamic and more relaxed version of this rhythm to keep in line with the slow tempo of “The Crystal Ship”.

During the drum part we just highlighted, the tom-tom (a deep, elastic-sounding drum) is used alternately with the edge of the snare drum.

An example of this style can be heard from min. 0:15 to min. 0:38, bearing in mind that it applies to all the choruses of the song.

The lazy, sensual “cha-cha-cha” that the drummer plays in the choruses of “The Crystal Ship” remains unchanged, even during Ray Manzarek’s piano solo (from min. 1:10 to min. 1:29).

In this way Densmore helps to define the psychedelic appeal of the song, which was one of the first compositions recorded by The Doors.

 

"Light My Fire" (from “The Doors” LP, recorded in 1966).

In this famous song by The Doors, the drummer returns to the bossa nova style to accompany the verses, for example from min. 0:10 to min. 0:23 and from min. 0:39 to min. 0:52.

As in “Break On Through”, it is the syncopated rhythm played on the edge of the snare drum that brings this "Latin beat" to life.

This percussive device creates a sense of anticipation and excitement as the chorus approaches.

Furthermore, the bossa nova rhythm clearly distinguishes the verses of “Light My Fire” from the choruses, where the drums switch to straightforward rock, with surprisingly effective results.

 

"I Looked At You" (from “The Doors” LP, recorded in 1966).

The verses of “I Looked at You” are set to a Latin rhythm that is very similar to the mambo.

You can hear Densmore’s lively approach most clearly in the opening introduction and the first verse (from min. 0:03 to min. 0:23).

Before the drummer transitions to a rock style for the chorus, he adorns the verse with a charming flourish between the tom-tom and the edge of the snare drum.

 

"Moonlight Drive" (from “Strange Days” LP, recorded in 1967).

The unmistakable and sensual rhythm of the tango is utilized here, achieved through Densmore’s performance on the snare drum.

This can be heard at the beginning of the piece, from min. 0:09 to min. 0:34 (the first verse), and again from min. 0:44 to min. 0:54 (the first chorus).

The sense of suspense and mystery created by the tango at the beginning of “Moonlight Drive” is extremely suggestive and matches the sonic atmosphere of the song to the meaning of the lyrics.

This rhythm is then abandoned in the subsequent verses and choruses to emphasize the different stages of the “moonlight drive” vividly depicted by this masterpiece of a song.

"My Eyes Have Seen You" (from “Strange Days”, recorded in 1967).

The verses of this beautiful rock tune feature the same percussive inspiration and performance technique heard in the choruses of “The Crystal Ship”, albeit at a slightly faster tempo (listen from min. 0:08 to min. 0:21 and from min. 1:10 to min. 1:24).

In these passages, the verses of “My Eyes Have Seen You” follow a progression that is both tenuous and meandering, building up to the entrance of the swirling chorus.

 "I Can’t See Your Face In My Mind" (from “Strange Days”, recorded in 1967).

The bossa nova drum pattern reappears in the choruses of this intriguing psychedelic composition, for example from min. 0:30 to min. 0:48.

The mournful, languid alternation between tom-toms and the edge of the snare drum is also evident in the Brazilian jazz rhythm interpretation played by The Doors’ drummer in “I Can’t See Your Face in My Mind”.

 

"When The Music’s Over" (from "Strange Days", recorded in 1967).

The Latin-like cadence, derived from the “cha-cha-cha” and “mambo” previously observed in “The Crystal Ship” and “I Looked at You”, can be heard at several points in this magnificent suite (from min. 0:56 to min. 1:24 and from min. 1:48 to min. 2:07, for example).

This provides the perfect backdrop for the unfolding of a great tune, whose mysterious movements are enveloped by the haunting feeling generated by Jim Morrison’s words.

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

Here’s a link:

Amazon – “The Doors Through Strange Days”