THE DOORS' "WHISKEY, MYSTICS AND MEN": A PRECIOUS OUTTAKE FROM 1969

Jim Morrison's fascination with poetry, present since 1965 in the music recorded by The Doors, grew even further starting in the fall of 1968.

During this period, artistic disagreements with the rest of the band led the frontman to devote more of his energy to writing poetry than to composing songs.

Consequently, on February 9, 1969, Morrison recorded a series of intense poems he had previously written and intended for future projects yet to be defined.

The resulting tape also features a rhythmic chant whose poetic form in rhyming couplets flows over the upper range of the singer's vocal range.

This is 'Whiskey, Mystics And Men' (link here), in which the oscillating inflection outlined by Morrison's voice alone conveys a subtle, flowing and slightly nostalgic expressiveness.

The two short minutes of this moving performance are guided by lyrics that are not entirely straightforward, but in which themes such as the need to enjoy a more authentic and natural approach to reality, as opposed to the manipulations devised by rationality and modernity, can be recognized.

Furthermore, the last verse clearly urges the listener to find a new answer to the questions posed by life, emphasizing the importance of the inner sphere as a counterbalance to the consumerism that was already prevalent at the time: "We must try to find a new answer instead of a way".

As was often the case, in this short poem the vocal line traced by the singer intertwines with a musically compelling melody, foreshadowing the potential of a real song.

At that time, The Doors were busy putting together the track list for the LP that was due to be released in the following months ("The Soft Parade," released after grueling recording sessions in July '69).

Among the possible tracks, "Whiskey, Mystics And Men" was also considered.

Starting from Morrison's poem, two different arrangements were developed in late winter 1969.

Once recorded, both versions proved to be worthy of inclusion on the album. However, they remained criminally unused, thus becoming precious outtakes for posterity.

One of the two recordings (link here) reflects the new sounds (horns, strings and other unusual instruments) devised for the arrangements of many songs on "The Soft Parade" LP.

In this case, it is Jesse McReynolds' mandolin (also featured in "Runnin' Blue") and a jug player that accompany Robby Krieger on acoustic guitar (played with the slide technique), Ray Manzarek on keyboards, John Densmore on drums and Jim Morrison on vocals.

Here, the original rhythm of the verses is slowed down, bringing poetry into the deeply evocative realm of a traditional maritime work song (called “sea shanty”) that we might have heard in the 19th century on a sailing ship during strenuous maneuvers or in a tavern frequented by sailors.

The swaying cadence of the piece is marked by three distinct elements.

Firstly, the dark, rounded sound produced by blowing on the rim of the 'Jug' (a handmade instrument typical of 1920’s and ‘30s Jug Band Music, where it replaced the double bass or tuba).

Secondly, there is the bass drum played by Densmore together with short decorative interludes on the snare drum.

Lastly, the small keyboard that imitates the frequencies of the electric bass, called Fender Rhodes piano bass. It is played with the left hand by Manzarek, obtaining a result similar to that achieved almost three years earlier in "Alabama Song".

This marked rhythm, evocative of a ship rocking on the waves or beer mugs following the melody of the song, is embellished by the bright and colorful acoustic intertwining of the guitar and mandolin.

The tune is further adorned by an unusual type of electric keyboard: the mellotron (introduced in psychedelic pop-rock between 1966 and 1967 and, in 1969, also common in progressive rock).

The fluid and ethereal lines painted by this instrument are fascinating to say the least: a theme with a sadly refined and elegantly thoughtful atmosphere, similar to the simple motifs released with calculated cheerfulness by 19th-century fairground organs.

The music just described is encased in the classic structure of this type of traditional work song: a call (the words recited with melancholic austerity by Morrison) receives a answer (the "ta-da-daaa" sung by both Morrison and other participants in the session).

A second version of "Whiskey, Mystics And Men" (link here), also dating from February '69, differs in the irregular waltz kept by the drums, a diverse vocal approach, and a more incisive and essential arrangement (drums, Hammond C3 organ, Mellotron, electric bass, and vocals).

In particular, it is the electric bass, played by the excellent session musician Harvey Brooks, that dominates the song with its low, pervasive and robust notes, whose contours are at once rough and nuanced.

Morrison's intonation becomes aggressive, at times angry, charged with a biting determination and an impetuous urgency.

A vaguely blues-tinged solo by Krieger, whose opening idea would be revisited in "Land Ho" during the recording of the LP "Morrison Hotel", completes this more rock-oriented transposition of the original poem.

Having found no place among the tracks on "The Soft Parade" or even on the following album ("Morrison Hotel", released in February 1970), "Whiskey, Mystics And Men" was finally returned by its author to the realm of pure poetry: on December 8, 1970, Morrison recorded a new series of poems in the studio, including this composition.

An epilogue full of circular sarcasm, that comes back to the artistic starting point from which these verses originated in February 1969. An end which does not do justice to an underrated song, extremely significant from a historical and musical point of view.

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