THE DOORS' "GO INSANE" / "A LITTLE GAME": AN ARTISTIC JOURNEY

 

In August 1965, Ray Manzarek's band, Rick and the Ravens, welcomed a new 21-year-old singer: Jim Morrison.

A few weeks later, on 2 September 1965, they had a good opportunity to raise their profile by recording five demo songs to submit to various record companies.

This group's line-up consisted of Jim Morrison (vocals); Ray Manzarek (piano and vocals); John Densmore (drums); Rick Manzarek (Ray's brother, electric guitar); Jim Manzarek (Ray's other brother, harmonica); and possibly Patty Sullivan (electric bass).

Robby Krieger would join the band about a month later, at which point Ray Manzarek's two brothers and Sullivan would leave.

Among the demos recorded on September 2, 1965, we find "Go Insane" (here's the link), in which does not feature Jim Manzarek's harmonica.

The title of this early composition by Morrison reveals the original and innovative nature of the singer's poetic and musical thinking.

The lyrics encourage listeners to escape external reality and society and take refuge in an imaginary world. In doing so, we may be labelled "insane", but our authenticity and spontaneity will be preserved.

This theme, hardly suitable for an unknown band in mid-1960s USA, will be reworked in different ways in some of Morrison's other songs.

'Go Insane', a rhythm and blues song, is characterized by the simple combination of verse and chorus, which are almost identical. Each verse-chorus is separated from the next by short, wild instrumental sections.

Furthermore, the verse and chorus are accompanied by a high note, played simultaneously on the electric guitar and piano, which is repeated obsessively. Drums and electric bass are added in the background.

This effective arrangement would remain in The Doors' repertoire for years to come. In fact, with appropriate modifications, it will echo in the verses of 'Back Door Man' and 'Five to One'.

During the instrumental breaks, the sound expands into a swirling, piano-driven rock 'n' roll rhythm. This closely resembles the rhythm of Little Richard's "Lucille" (a great rock 'n' roll classic released in 1957 and recorded the previous year).

These breaks are intended to represent the supposed madness of those who withdraw from society. A downward trajectory emerges within them, traced by animated, pounding piano chords. Ironically and moodily, they bend Little Richard's tight and pressing piano line, playfully hinting at the meaning of the lyrics.

Perhaps the most interesting element of this track is Morrison's voice, which is as high as it will ever be heard and full of irreverent youthful exuberance.

Although still immature, his performance yields an early taste of the transgressive and subversive screams that would become a defining feature of his singing.

After being put aside for two and a half years, 'Go Insane' was resurrected in 1968 with the creative and evocative new title 'A Little Game'.

It was part of a lengthy composition by Morrison, combining poetry and music, called "The Celebration Of The Lizard". It was intended to occupy the entire B-side of the album "Waiting for the Sun".

Although this project was never finished, a substantial part of 'The Celebration of the Lizard' (including 'A Little Game') was performed live by The Doors on several occasions in 1968 and beyond.

The most famous concert in which it appeared was held at the Hollywood Bowl in Los Angeles in early July 1968 (link here).

There are four main differences between this version and the demo.

Firstly, Morrison's voice is much more mature and expressive in this live version.

Secondly, the length has been shortened compared to the demo: only the first three verse-chorus sequences (out of four) have been maintained. These sequences are also not divided by the aforementioned instrumental breaks.

The third change concerns the arrangement. At the Hollywood Bowl, Morrison's lyrics are set against an experimental soundscape incorporating elements of avant-garde music.

The dissonant notes of the electric guitar and the steady beat of the electric organ intertwine and clash with each other. Meanwhile Densmore's abstract drumbeat evokes the sound of a clock mechanism heard in a dream.

The fourth innovation is the inclusion of 'Go Insane', a track originally conceived as a standalone piece, within a larger, more complex composition with a different title.

This is the reverse of the process that led to 'Not To Touch The Earth', which was created as part of 'The Celebration of the Lizard' and later extracted as a standalone track on the LP 'Waiting for the Sun'.

'A Little Game' also appears as part of the poetic-musical work 'The Celebration Of The Lizard' on The Doors' only live album released with Morrison still alive: Absolutely Live (compiled from performances held at various dates between 1969 and 1970).

The version we are talking about comes from the concert the band played at the Felt Forum in New York in January 1970, the first city on the promotional tour for the LP "Morrison Hotel".

'Go Insane', later known as 'A Little Game', reflects Morrison's evolution as a musician and how he developed alongside the other members of The Doors.

It evolved from the LSD-soaked insights of 1965 ("Go Insane") to the achievements of artistic maturity ("A Little Game" in live performances), where the group expressed an unprecedented and astonishing fusion of song form, poetry, and theatrical performance.

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”