Excerpts from the book

EXCERPTS FROM THE 12 CHAPTERS

 

 

 

CHAPTER 1 – INTRODUCTION

 

“The relationship between lyrics and music is fundamental here because it generates a magical language, where the boundaries between instruments and voice blur to give birth to a new and peculiar form of expression.”

 

CHAPTER 2 – “STRANGE DAYS”

 

“Immediately afterward, throwing itself into the development of the song with its liquid, undulating progression, the organ combines with the guitar, forming a background at once dreamlike and eerie: from here on (min. 0.08), the music and the hallucinated dream that runs through it fade into each other.”

 

CHAPTER 3 – YOU’RE LOST LITTLE GIRL”

 

“With "You're Lost little Girl" we therefore encounter an important step in the artistic evolution of the California band, marked by the extension of its expressive vocabulary.”

 

CHAPTER 4 – LOVE ME TWO TIMES”

 

“Along the stanzas, the guitar recounts, with its bleak, urgent and resolute vibrations, the same passions felt by the protagonist of the song: a feverish fervor and an urgent need for physical love.”

 

CHAPTER 5 – UNHAPPY GIRL”

“Krieger records a second, languid guitar line during his short solo, also modified through the slide technique, in addition to the one already present in the song.”

 

CHAPTER 6 – “HORSE LATITUDES”

 

“This last verse is also accompanied by another of Morrison's lacerating screams. It concludes the piece by casting indignation, anger and helpless despair over the fuzzy image of the horse, in silent agony as it is embraced by the depths of the sea.”

 

 

CHAPTER 7 – “MOONLIGHT DRIVE”

 

“An authentic manifesto for liberation from conformist social constraints, this song loudly proclaims the need to venture toward an exciting, unwritten, dangerously new personal and collective destiny.”

 

CHAPTER 8 – PEOPLE ARE STRANGE”

 

“This technique lends fluency to the guitar's rolling, lively pacing, expanding the spaces between its playful phrases and tinging the solo with a pronounced bluesy hue.”

 

CHAPTER 9 – MY EYES HAVE SEEN YOU”

 

“Immediately afterwards, in the most heated part of the refrain, the bass rushes with urgent darts into the uncontrollable vortex of the senses unleashed by Morrison's singing (listen, for example, from min. 0.46 to min. 0.58).”

  

 

CHAPTER 10 – “I CAN’T SEE YOUR FACE IN MY MIND”

 

“With his high-pitched, clear and soothing sound of the organ, Manzarek illuminates the nuanced, lazy Latin-like rhythm played by the drums between the tom tom and the edge of the snare drum.”

 

CHAPTER 11 - "WHEN THE MUSIC’S OVER”

 

“The hanging atmosphere created in this way brings the listener into a real theatrical performance, in which the exhausting wait for cultural change by American youth is, in a progressive sense, affirmed.”

 

CHAPTER 12 – “WE COULD BE SO GOOD TOGETHER” – CONCLUSIONS

 

“Morrison, at once an observer of social reality and of the inner self, conveys his penetrating analyses transfiguring them into his controversial, restless and astonishing poetry.”