The Soft Parade

I always thought their first album was easily their best, as they sounded on that as though they were full of energy, and all their ideas poured on to that one album only, as on it, they created entirely a sound of their own, heavy organ driven rock with slippery psychedelic overtones, plus very strong material. There didn't seem to be a lot left in them after that. But I think this was their best album since their first, as on this album only, they were temporarily exploring other musical paths or ideas on some of the tracks, using orchestrated arrangements on some of the tracks which included brass and also on a couple of those tracks, string arrangements, giving them a different sound. Even the tracks here that were more in their usual style were an upturn here. There is an excellent and interesting selection of bonus tracks here, which includes a rare B side, the brass driven Who Scared You, of which a box set they once had out contained an alternate take, the continental styled Whiskey, Mystics And Men,versions 1 & 2, both with use of an accordian, an alternate take of Touch Me, plus dialogue, and best of all, a great six minute jam, Push Push which is a piano led instrumental with chants in the background, and is more in the Jazzy instrumental style of Ramsey Lewis, but with a tune close to La Bamba, and does not sound at all like The Doors to me, but I like it, although one of those you can hear chanting in the background does sound a bit like Jim Morrison. All their albums including this one, were originally issued on CD with just the original tracks and mixes, and then again with most tracks on each remixed and containing bonus tracks. I noticed that the Autorip with this did not match the CD, which I have noticed on previous occasions. But here, it was an advantage, because the Autorip contained the original track mixes, like with the original CD (but no bonus tracks). Whereas this CD contained remixes of most of the original tracks, plus bonus tracks. Either the instrumental separation between the channels was different, or some instruments that could previously be heard upfront, here were in the background, so you could here the other instruments better. So I got almost two albums worth of different mixes to the price of one. This may be because only the original CDs of these albums are available as downloads, although here, I could not notice a lot of difference between the two mixes of tracks 1, 6 & 9. But track 5 may be a different take, as the organ sounds different. But on Youtube, I picked up one track Touch Me (Alternate Mix) which turned out to be the version here without the overdubbed orchestration - plus the orchestration only, vocals only, vocals and guitar only, and the backing only, like with a lot of their tracks. But you have to be aware that the instrumental parts are from the originals, as sometimes people download their own imitation instrumental parts. Although their first album was released in early 1967, it was recorded in late August 1966 when we were still at the tale end of the British Invasion. But Psychedelia had already started to be felt in the States by then, while the British side of the Pop Rock world was still mostly British Invasion based, until early the following year when it got out-fashioned by the onslaught of Psychedelia, of which The Doors were part of. In September 1965, almost a year earlier, they recorded six demos which were all on that box set. In May 1966, about three months before making that album, they recorded a live session of seven tracks which were recently issued on limited edition vinyl, recorded at The London Fog in LA, not in this country. But you can play it all on Youtube, sound quality not perfect. I.E., as of August 2019, this London Fog concert is now coming on CD. Let's hope the sound quality is better. IE, although I printed the above review 2 years ago, I must point out that this is a review of the single CD of this album with bonus tracks which may no longer be available, I noticed it now appears among the reviews of this box set reissue which I have not reviewed, but the bonus tracks here are not on that box set, but were taken from another box set of theirs with previously unissued material. I think the mixs of the album tracks on the Soft Parade box set are the original album mixes.

This album has always been a divisive release for people familiar with their work, but , as a diehard Doors fan , i have no criticism of it whatsoever. A variety of styles...soul/pop , a hint of funk , some psychedelia....all shot through with a period sounding late 1960s Los Angeles production. I've always appreciated it , as much as their other releases. The four tracks with the original overdubs sound just fine the way they are. Interesting to hear them without the horns , strings , etc , but , to be honest , I'd take the dubbed versions over the 'naked' ones. Maybe because I'm so used to hearing the original recordings. Just personal taste. I didnt really detect much difference with the new stripped versions of the three tracks with the new Robby Kreiger overdubs. Just some new rhythm guitar parts , perhaps. The unedited (or less edited?) version of the Rock Is Dead jam, is fascinating, but unlikely to appeal to the casual fan. It is quite indulgent , but, Doors fans will appreciate it, for sure. The vinyl pressing of the original album is excellent. My copy is , anyway. Completely silent ...no surface noise.

Heavily criticized in its original 1969 form as rather "soft" album by Doors standards, the high quality of the tunes, lyrics, riffs and instrumentals can now be fully appreciated with the passage of time and by including 3 dropped numbers. It is extremely puzzling why so much great material was dropped and why the remaining short album was put out in such a poor order muscically. With these 3 additions, the album comes up to the full 45 mins that it should have been. For the best musical appreciation of this work the tracks need to copied and listened to in the following order: Side 1: 1 Wild Child (Was there ever a more obvious opening track? Great riff. "Remember when we were in Africa?") 2 Who Scared You (Brilliant riff and edge. Madness to have dropped it originally) 3 Runnin' Blue (Brilliant merging of styles and a tribute to poor Otis) 4 Whisky, Mystics and Men (Version 1. Hypnotic sea-shanty chant. Crazy to have dropped it originally. Works here) 5 Tell all the People (Good song, but lacks distinctive Doors edge) 6 Touch Me (Great tune and luric, brilliant closing brass instrumental) 7 Easy Ride (Good fun, but on the lighter side) Side 2: 8 Shaman's Blues (This riff winds into your brain) 9 Wishful Sinful (Top-quality tune and lyrics) 10 Do it (Light-weight raunchy fun) 11 The Soft Parade (Episodic, great in parts) 12 Albinoni's Adagio in G Minor (Works perfectly as a cool-down to close. Strings suited to this album and not the previous one from which it was also dropped. Rock is dead!). Can be obtained from Essential Raraties or elswhere. The track "Push-push" is also included as an extra track here but is of little substance, being just a repetitive jam around the old "La Bamba" standard. No lyric to speak of. It is best left off of this newly revealed album.

Great album. A replacement for an earlier worn out copy.

Eccellente rimasterizzazione di uno dei migliori Album dei "The Doors" che restituisce tutto il piacere d'ascolto del tempo in cui usciva. Voto 8

This review refers mostly to the 50th Anniversary release. I have been sadly reading comments over many years stating, or implying, that "The Soft Parade" is The Doors' worst album. I feel that the time has come for me to submit comments to the contrary on this, my favorite Doors album. But first, some technical info. Over the last ten years or so, I have noticed an increasing tendency for reviewers of music to discuss -- even to include brief audio/video clips of -- their sound systems. I think this is good because it gives the reader a very specific orientation for the reviewers' evaluations. My own system's component makeup is as follows: Amplifier: TEAC AI 2000 DAC: TEAC UD-501 CD Player (for non-hi-def cd's): TEAC PD-D2410 CD Player (for hi-def cd's): Pioneer UDP-LX500 Turntable: Music Hall mmf-5.1 (This turntable was originally fitted with a Goldring 1012GX Cartridge [no longer available, I have been told], but is now fitted with an Ortofon red [eliptical]). Phono Stage Unit for turntable: Music Hall Speakers: Boston VR 965's (no longer manufactured) These totally cool speakers fire the bass frequency drivers to the side (!), have individual, small, manually adjustable (!!) sub-woofers built into them, and embody the strong but mellow sound of my old, long-gone AR 2AX's and AR 6's. Headphones: Grado Labs SR 125 After the tragic loss of my beloved Quadrophonic System -- in a home burglary in 1996 -- I built this system up, almost piece-by-piece, since 2000, for under $10G. It is a very high-fidelity, low-distortion system that is completely satisfactory for my listening needs. Even way more hard-core audiophiles than myself have admitted that it sounds exceptionally good ... Now, to the 50th Anniversary edition of The Doors' "The Soft Parade ..." To say that an album which contains no fewer than three radio-play hits is that group's worst album does not make any sense, period. I am not going to sit here and try to convince you that it is The Doors' best album, either. It is my favorite Doors album, yes. But, when speaking about a group with the musical stature of The Doors, if we're being totally honest with ourselves, I think it's time we admit that, in a very real sense, each of their albums is their best album. It only remains, then, to list some of my own (admittedly subjective) reasons for liking this album so much ... Liner notes for this album usually emphasize the obsessive perfectionism of its producer(s) -- the huge number of takes, etc. I get it. It must have been a total drag putting it together -- for the notoriously edgy singer, it must have been a genuine hell. Some people, however, seem to function better in hell ... He sure did. Whatever they went through making the blessed thing, I think it was well worth it. They ended up with a truly exquisite product -- one of those rare albums characterized by what I like to call a "mirror finish" on the music (another is Pink Floyd's "Dark Side of The Moon"). I could go on all night about all the things I love about the wonderful music and wonderfully mad lyrics (the "He's sweatin,' look at 'im," etc. rap as Shaman's Blues slows masterfully to its finish is a standout example -- though by no means the only one) everywhere on this album. For the sake of readability, however, I'll just mention a couple of them. I have particularly high praise for the decision to put the bass and drums well up in the mix and smack-dab in the center of the sound stage, and -- ladies and gentlemen, I'm gonna come right out and shout it from the housetops -- what ultra-fabulous drumming from beginning to end!!! There is no doubt in my mind that The Doors had one of the best percussionists in the business -- ever. The foremost reason utilized to dis this album is the use of orchestral instruments. But in my own opinion, it is one of the album's strongest features. Why? First, because it strongly suggests that this is what The Doors would sound like if they had played Classical Music. And, by George, it works -- in exactly the same manner in which it works on The Beatles' most underrated album, Magical Mystery Tour (the USA LP version). And second, because of the appropriateness of the musical contributions -- at times, like with the woodwinds on Wishful Sinful, bordering deliciously on dissonance. The only criticism I have of the use of "classical instruments" on this album is that the strings are a little too high up in the mix and sometimes tend to overpower the pitch-perfect uses of the woodwinds, horns, and keyboards. Anyway, the compilers of this version have given us all the ability to decide for ourselves by including mixes of the five tracks that utilize the sounds of Classical/Baroque instruments. Listen to them yourselves, back-to-back if you wish, and decide. For the record, if I'm being honest, I think that the takes without them sound somehow incomplete, which proves -- to me, at least -- that they were an integral part of the musical conceptions of those tracks to begin with. Time to wrap up, but two more quick things: kudos to the compilers for including the "missing" track from the second side, "Who Scared You," and for using the same mix that was used for the 06/07 Remix. This marvellous album has never before sounded better. My sincere thanks to everyone -- living or not -- who was involved in its creation and subsequent editions.

Me encantó la mezcla del audio y la calidad de impresión del disco

Pour les amateurs du groupe