THE DOORS' "WHO SCARED YOU": A RIFF ABOUT TROUBLED LOVE

 

Between August 1966 and December 1970, The Doors only released two songs outside of their six studio albums.

One of these is the eclectic Rock song "Who Scared You", written by guitarist Robby Krieger and singer Jim Morrison.

The song was written in autumn 1968, a period that marked a significant stylistic shift for the group following the success of their third LP, "Waiting for the Sun", which topped the US charts shortly after its release in July ‘68.

During this time frame, Morrison's detachment from the band's affairs and Krieger's emergence as the primary songwriter partly transformed The Doors' sound.

This occurred in two main ways. Firstly, horns were included in some of the arrangements, and secondly, the group adopted a compositional style that was more attuned to market demands than during the previous two and a half years.

In this context, "Who Scared You" is perhaps the best example of the band's attempt to incorporate a horn section into its music.

Composed in October–November 1968, the song was recorded in November during the sessions for the LP "The Soft Parade" (it was not released until July 1969 and "Who Scared You" wasn't included on the track list).

The song was first performed live at the concert The Doors played in Inglewood, California, on 14 December 1968 (link here) with a small horn section on stage.

During the following gig (at the Madison Square Garden in New York on 24 January 1969) the song was again accompanied by wind instruments (link here).

While the audio quality of the two bootlegs is poor, one can still appreciate the abrasive elegance of Morrison’s voice and the energy radiating from the performances.

“Who Scared You” wasn’t officially released until March 1969 as the B-side of the single “Wishful Sinful”, peaking at No. 44 in the US and failing to chart in the UK.

The structure of “Who Scared You” is quite varied: verse (x3) – chorus – middle eight (from min. 1:04 to min. 1:11) – solo – instrumental transition – verse (x3) – chorus - coda (lasting 51 seconds).

The track revolves around a recurring and undistorted electric guitar riff shaped by Krieger and articulated in a simple yet effective manner. It consists of three ascending notes whose cheerful rise is expressively interrupted by a single note played using the vibrato technique, before ending in a fleeting phrase.

The song’s center of gravity lies precisely in the riff, from which both the verse-chorus structure and Morrison’s vocal line originate. This creates an evocative and charming combination of electric guitar and vocals, the most compelling element of the entire song.

The two choruses (from min. 0:50 to min. 0:58 and from min. 2:48 to min. 2:57) are also worth noting, as they are based on a variation of the verse, creating a sonic continuity between the two sections. This technique was previously used in The Doors’ discography for "Unhappy Girl", the fourth track on the album "Strange Days", released in September 1967.

Although the electric guitar solo does not live up to expectations, coming across a bit too straightforward, the surprising instrumental transition from min. 1:45 to min. 1:58 deserves special mention.

In it, the dark, brief and incisive notes of the baritone saxophone are met with an enthusiastic and ringing response from the other wind instruments. In this way, an unexpected and captivating Funk interlude takes shape.

Another notable feature of this tune is John Densmore's unconventional drum part, which follows the melody outlined by the riff. The drummer's performance is dominated by lower-pitched drums (tom-tom and floor tom), yet these are illuminated by frequent, sparkling hits on the crash cymbal, delivered with measured intensity.

Ray Manzarek’s electric organ (Hammond C3) and the electric bass of the excellent session musician Harvey Brooks provide the backdrop against which the song unfolds.

The horns reinforce numerous passages, but their role does not seem crucial to the arrangement's success. It is only during the coda that they become more interesting, playing for a few seconds a pleasant theme derived from the main riff (listen from min. 3:16 to min. 3:36).

The song’s lyrics emerged in the form of fragmented verses improvised by Morrison during three separate 1967 concerts of The Doors. First, on 7 March at The Matrix in Los Angeles, as part of "When the Music's Over", then in the fantastic live performance in Danbury on 11 October, placed in the middle of a 20 minute version of "The End", and finally on 16 November in San Francisco, woven into "Back Door Man".

The definitive lyrics, completed by Morrison in autumn 1968, draw inspiration, as in other instances, from his turbulent relationship with Pamela Courson. However, the verses encompass a broader horizon, highlighting the bittersweet contrast between passion and conflict inherent in every stormy and tormented love affair.

Morrison’s vocals convey this theme with subdued bitterness and disillusioned fervor, born of an attraction that is both painful and inevitable (“Why were you born / Just to play with me?”).

The Doors’ singer, suffering yet in love, infuses the entire composition with the conflicting emotions of a love that is magnetic and irresistible yet also dangerous and perhaps impossible.

Although not one of the band's best songs, it is incomprehensible that “Who Scared You” was excluded from the LP issued in July '69 (“The Soft Parade”). In fact, at least four tracks on the album are inferior in quality to the tune in question.

In January 1972, the track was included as a meagre form of compensation on The Doors' first compilation released after Morrison's death: "Weird Scenes Inside the Gold Mine".

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Here’s a link:

Amazon – “The Doors Through Strange Days”