THE DOORS' "LAND HO!": A ROCK PLAY IN THREE ACTS

The Doors completed "Land Ho!" in the second half of 1969 based on a brilliant artistic and musical idea from Jim Morrison, the group's singer.

The song was recorded in November and December of that year and was released on the band's fifth LP in February 1970. It is in fact one of six tracks written specifically for the album "Morrison Hotel" (out of eleven tracks).

The title refers to the cry of enthusiastic joy that sailors used to let out when they sighted the coast after a long voyage across the oceans.

This eclectic tune, which was rarely performed live, stands out thanks to its structure, unusual for the rock genre.

“Land Ho!” is built around three distinct sections that transcend the "verse-chorus-middle eight" format. Instead, the surprising contours of a short rock play divided into three acts emerge.

Just like in a play, the three parts outline the narrative development of the events in chronological order. The lyrics of each section are linked by effective time jumps, a device used to quickly advance the story and give it immediacy.

Each of the three different musical atmospheres is characterized by distinctive soundscapes and rhythms. They are consistent with the progression of the plot vividly traced by Morrison's passionate verses.

Let's examine the three acts that make up this engaging composition from both a musical and lyrical perspective.

 

FIRST ACT

(from min. 0.00 to min. 1.38; third-person narration)

The setting is the northeastern coast of the United States, approximately in the first half of the nineteenth century.

This first episode recounts the unsatisfied life of an elderly whaler who has retired to dry land.

The narrator is his grandson, who describes some of the old sailor's traits: his pipe, a silver tooth, his restlessness at being away from the sea, and his fondness for singing bawdy songs about daring adventures.

The sailor's spicy and exciting repertoire deeply fascinates the boy, captivating him and freeing his imagination beyond the boundaries of social conventions.

It is precisely one of these traditional chants, popular among sailors in the 19th century and technically called “Sea Shanties” (singular: “Sea Shanty”), that inspired the arrangement and melodies played by The Doors in the first act.

Guitarist Robby Krieger repeats an irregular riff that seems to push forward with bold confidence and then hastily retraces its steps.

This distorted sound, resembling the dark and dense vibrations of a baritone saxophone, is echoed and reinforced by session musician Ray Neopolitan's electric bass. Together, they energetically pave the way for the cheerful arrival of the other instruments.

The lively high notes of Ray Manzarek's electric organ (a Vox Continental, just like the one he used in 1966–67) engage in a friendly competition with John Densmore's relentless, galloping drumbeat. Both instruments appear determined to bring their carefree, enthralling rhythm to the forefront.

Morrison sings the words of the sailor's grandson with joyful and sincere vivacity, describing the frustration of the old whaler who is forced to stay away from the open sea.

Additionally, the singer occasionally reveals the vivid accents of the boy's youthful fascination with his grandfather's brave and transgressive figure.

SECOND ACT

(from min. 1:39 to min. 2:20; first-person narration)

The second act is introduced by a short guitar solo, whose concise and compelling eloquence is underlined by three deeply undulating notes (achieved by Krieger through expressive use of the bending technique).

The lights dim, softened by long, gentle chords from the electric organ, while on stage we find the elderly adventurer speaking in the first person.

Jim Morrison lends his voice to him in a very realistic way. Through his soft singing, he conveys the weariness of a long and hard life while simultaneously expressing the menacing audacity that now drives the old sailor's warlike intentions.

Having assembled a crew of three ships and sixty men willing to do anything, the former whaler declares his intention to devote himself to piracy. He plans to attack and plunder exotic trading ports with his crew.

The face of the strong-willed sailor is lit up with greedy desire as it stands out against a background depicted by three sonic components.

The first component is provided by the constantly pulsating notes of the electric bass. The second is a viola (or cello) that vibrates darkly, barely audible in the background.

The third element is represented by Densmore's drums. The drummer now lingers in an uneasy wait, abandoning the animated and pressing rhythm exhibited in the first part of the song. The sense of tense mystery evoked by his percussive pattern is punctuated by the alternation between the hi-hat, the elastic sound of the drum known as “tom tom” and the stick hitting the edge of the snare drum.

The old man's combative cry, “Land Ho!”, signals the beginning of his reckless adventure and closes the second act.

THIRD ACT

(from min. 2:21 to min. 4:08; first-person narration)

The third and final act brings us back to the instrumentation and cadences already encountered in the first. Once again, the protagonist is the elderly buccaneer, who is now intent on setting off on intrepid raids with his crew.

Interpreting this scene Morrison modifies the vocal line compared to that followed in the first part of the song.

The Doors’ singer throws himself into a dissolute and libertine melody, adopting an aggressive and uninhibited attitude. Here, the personality of the character he is portraying blends suggestively with his own rebellious real-life image.

The old pirate's bold intentions regarding how he will spend any spoils he may obtain from his planned raids are clear: drinking and paid sex. This is accompanied by sarcastic and cutting remarks about his unlikely and highly uncertain return to domestic life.

The third and final act ends with a swirling fade out of the music and vocals, punctuated by dynamic electric guitar phrasing.

Therefore, The Doors allow listeners to use their imagination to create their own interpretation of what happens next and how the play might end.

As was already the case with the extraordinary composition “Horse Latitudes” (from the group's second LP, “Strange Days”, released in September 1967), “Land Ho!” is set in a fascinating historical context.

The song stands out on the rock scene thanks to its creative and unconventional experimental structure.

Traditional sea shanties from the first act flow into the eerie calm of the second, before exploding into the irreverent rock irony of the third.

While not among the band's finest works, this tune remains an extremely interesting and ingenious example of rock music meeting theatre.

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