THE DOORS' "PUSH PUSH": AN UNUSUAL OUTTAKE FROM EARLY 1969

 

A detailed exploration of The Doors' discography reveals the occasional influence of Latin American music.

The band member who most frequently drew inspiration from this genre was drummer John Densmore. In fact, he adapted Caribbean and Brazilian rhythms to fit several songs on the Californian quartet’s first three LPs.

However, The Doors had never before ventured so deeply into the vibrant and colorful world of the American South as they did in early 1969.

This happened during the sessions for their fourth album, "The Soft Parade", which was later released in July 1969.

We’re talking about “Push Push” (link here), an outtake recorded with the laid-back cheerfulness that characterizes a song never intended for public assessment.

The almost playful atmosphere that pervades this Latin-flavored composition is brought to life by Ray Manzarek (vocals and piano), John Densmore (drums), and the two session musicians, Harvey Brooks (electric bass) and Reinol Andino (congas).

Several additional voices (although difficult to identify with certainty) follow one another in joyful chaos, supporting the lead vocal line in the form of enthusiastic background vocals and humorous shouts.

Singer Jim Morrison and guitarist Robby Krieger seem to be absent from the recording studio.

The composition is officially classified as a collective effort by the band, (it is credited to “The Doors”). Nonetheless, the prevailing impression is that it was shaped and driven by Manzarek’s piano and Brooks’ electric bass.

Occasionally, the two instruments vaguely echo the famous riff from Ritchie Valens’ 1958 hit “La Bamba”, lending a familiar ease to the lively melody that flows through the song.

Furthermore, the exuberant percussion paths devised by J. Densmore and R. Andino contribute to the carefree flow of the piece.

Not coincidentally, Andino also plays the congas on the final section of the suite "The Soft Parade", which was recorded during the same early 1969 sessions as "Push Push" (January or February).

This six-minute jam session resulted in a simplified reinterpretation of a theme typical of the Cuban tradition.

Known as “Son Cubano”, this relaxed and passionate musical genre originated in Cuba in the second half of the nineteenth century. It stemmed from the fusion of Spanish folk music and West African rhythms brought to the Caribbean by the slave trade.

The lack of a proper structure (verse, chorus, etc.) shifts the listener’s focus to the vivid, catchy textures created by The Doors' keyboardist.

Manzarek thus becomes the undisputed protagonist of the track, delivering chords and single notes on the piano with sunny, lighthearted mastery.

Densmore’s hi-hat serves as another noteworthy sonic element that enhances the tune’s exotic mood. The two overlapping cymbals that make up this element of the drum kit are positioned slightly apart from one another, producing a whispering and sandy sound reminiscent of maracas.

The lyrics of 'Push Push' revolve around Manzarek’s rhythmic repetition of the title. Still, verbal variations (such as "You're finally gonna get it") suggest that the song refers to achieving a goal through relentless and resolute attempts.

This fun and spontaneous composition resurfaced fleetingly more than a year later during a concert by the Californian quartet in Pittsburgh on 2 May 1970.

Morrison sings a short section of the tune while the band explores the mysterious and enchanting meanders of "When the Music's Over" (link here).

The unusual recording briefly discussed in this article was first released in 2006 as part of the "Perception" box set. Shortly afterwards, it was also made available as a bonus track on the 40th anniversary edition of the LP "The Soft Parade".

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

Here’s a link:

Amazon – “The Doors Through Strange Days”