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"The End" is death, although the song also deals with Jim Morrison's parents - it contains Oedipal themes of loving the mother and killing the father. Morrison was always vague as to the meaning, explaining: "It could be almost anything you want it to be."
The Doors developed this song during live performances at the Whisky a Go Go, a Los Angeles club where they were the house band in 1966. They had to play two sets a night, so they were forced to extend their songs in order to fill the sets. This gave them a chance to experiment with their songs. This started as a short song about a farewell to a girl, and developed into an 11 minute epic.
One night, Morrison didn't show up for his gig as the Whisky a Go Go. After their first set, the band retrieved Morrison from his apartment, where he had been tripping on acid. They always played "The End" as the last song, but Morrison decided to play it early in the set, and the band went along. When they got to the part where Morrison could do a spoken improvisation, he started talking about a killer, and said, "Father, I want to kill you. Mother, I want to f--k you!" The crowd went nuts, but they were fired right after the show. The Doors had recently signed a record deal and they had established a large following, so getting fired from the Whisky was not a crushing blow.
Morrison sang this live as "F--k the mother," rather than "Screw the mother." At the time, the band couldn't cross what their engineer Bruce Botnick called "the f--k barrier," so they sanitized the lyric on the album. When Botnick remixed the album for a 1999 reissue, however, he put Morrison's "f--k"s back in, which is how the song was intended.
This was famously used in the movie Apocalypse Now over scenes from the Vietnam War. Director Francis Ford Coppola had it remixed to include the line "F--k the mother."
Morrison was on an acid trip when they first tried to record this song. He kept singing "F--k the mother, kill the father" rather than the actual lyrics. In The Mojo Collection, it states: "Comprehensively wrecked, the singer wound up lying on the floor mumbling the words to his Oedipal nightmare. Then, suddenly animated, he rose and threw a TV at the control room window. Sent home by producer Paul Rothchild like a naughty schoolkid, he returned in the middle of the night, broke in, peeled off his clothes, yanked a fire extinguisher from the wall and drenched the studio. Alerted, Rothchild came back and persuaded the naked, foam-flecked Morrison to leave once more, advising the studio owner to charge the damage to Elektra; next day the band nailed the track in two takes. Morrison lived for only another five years."
This is supposedly the last song Morrison heard. The night he died, he was playing old Doors albums, ending with this one. This was the last song on that album.
This was recorded with the lights off and only one candle burning next to Morrison.
The album version of the song is an edited combination of two takes.
Morrison would sometimes stop in the middle of this during concerts to get a reaction from the crowd.
The instrumentation is meant to be like an Indian raga. The guitar imitates a sitar, with seemingly unrythmic pluckings of diatonic notes. The drum beat is designed to sound like a tabla, and the keyboard is supposed to provide the humming support of a tambura. (thanks, Loretta - Liverpool, England)
Was "Pearl" Eddie Vedder's grandmother, and did she really make a hallucinogenic jam? Did Journey have a contest to name the group? And what does KISS stand for anyway?
Chris Robinson of The Black Crowes
"Great songwriters don't necessarily have hit songs," says Chris. He's written a bunch, but his fans are more interested in the intricate jams.
Susanna Hoffs - "Eternal Flame"
The Prince-penned "Manic Monday" was the first song The Bangles heard coming from a car radio, but "Eternal Flame" is closest to Susanna's heart, perhaps because she sang it in "various states of undress."