"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.
"The End" began as Jim Morrison's farewell to Mary Werbelow, his girlfriend who followed him from Florida to Los Angeles. It developed into an 11-minute epic.
On August 21, 1966, Jim Morrison didn't show up for The Doors gig at the Whisky a Go Go. After playing the first set without him, 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 he 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 the band was 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."
Doors keyboardist Ray Manzarek recalled in a 1995 MOJO interview: "To sit back in an audience and hear 'The End' come on at the beginning of Apocalypse Now, it's absolutely thrilling."
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, which took a total of about 30 minutes to record. Producer Paul Rothchild called it "one of the most beautiful moments I've ever had in a recording studio."
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 unrhythmic 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.
Loretta - Liverpool, England
Ray Manzarek told Rainer Moddemann of The Doors Quarterly
that he believed the "blue bus" in the song is, "Jim's version of the Egyptian solar boat... it is the boat that the pharaohs and everyone, everyone else rides on through infinity, through eternity, and 'the blue bus' was for me a vehicle that would take you on a voyage into magical places."
Moddemann asked about the more simple interpretation that the "blue bus" was referencing the blue buses of the Santa Monica line, but Manzarek resisted the idea. "I don't think it has anything to do with that," he said. "It's more cosmic. It's a cosmic journey, and blue being the color of the cosmos out there. And then the next line is, 'driver where are you taking us.' On a trip, man, on a voyage to some place you have never been before, and some of them are gonna be scary, some of them are gonna be a lot of fun, lot of fun, like 'The Crystal Ship
.' A thousand girls, a thousand thrills."
The family visited by the character in this song mirrors Morrison's own nuclear family. Morrison had a mother and father, one brother, and one sister.
In a January 9, 2020 interview with 95.5 KLOS, Krieger recalled that he and Morrison first started working on the song in Krieger's house.
As far as the spoken word part it seems pretty obvious to me that Morrison is just ad-libbing here and it is just a collection of spontaneous thoughts/ideas that have no real connected meaning. Being the 60s, I think this was the kind of experiment people did as a way to explore a person’s inner psychology without constraints - just sing whatever comes to mind. It perhaps was a worthwhile experiment but I think should have been cut from the final song mix that was released.
But what really bothers me is if you buy into the idea that the spoke word part is Morrison peeling away all those layers of convention, norms, inhibitions, etc. what does it mean when at the climax of the song and presumably he has finally arrived at some inner truth (he has even dropped the whole oedipus complex thing at that point) he is reduced to just repeating “f*ck” and “kill” over and over again. Its an ironic message coming from a man considered to be a spokesman for a generation pushing for peace and love.
Mescal comes from a cactus, in the desert(wildrerness); the Bible speaks often of the Wilderness as a loace to encounbter Truth and God &, if humble enough, to start a new life, with a fresh understanding of the universe & how you fit into it.
Sady,. Jim was already hooked on the drugs & wasn't open to any epiphanies that challenged this lifestyle he worked so hard to attain.
Mostly the song became an opportunity for the whole band to riff lyrics together & expand it, keeping the ones that got the best responses (like the "f--- the mother" line that elicited roars of approval)
Truly epic, as only music from this era could be. . .
Close the curtains, close your eyes & just listen; with your ears, yes, but also with your soul. . .
On darms highway bleeding
Ghosts crowd the young child's,
Fragile eggshell mind"
Sheds new light on his unique voice to the world.
I was a child born of post WWII parents, experiencing daily televised Viet Nam war casualties on the evening news, an assassinated President and escaping whole the Charles Whitman shootings at UT as a 14 year old drama student. This song spoke to me of imminent doom for not just my life, but all life! It was then as a mother, I paid close attention to my children's music and it's effect on them. I encouraged their choices as theirs, and facilitated philosophical discussions when possible. Thankfully, they escaped adolescence without self mutilation, depression, or apathy but with a deep love of the lakes and streams of Texas, and life itself. To date, there has been no other and, after all this time, he still reminds me to open my eyes to fully experience and honor life. (Plus, he was just too, too, sexy, and despite being drunk in 1970 in Dallas, my girlfriends and I still talk about him as the first grown up sexy man we'd ever seen, before drifting off into our own silent reverie of Jim Mmmm)
What I do know is that this song was dragged out of the group to put on the album - it was a song they played live and played different every time. When Rothschild got them to play it, it went in as two takes. The second take was mastered - and its what you hear on the albums. This is high quality for only 2 takes! Unheard of today!
Due to to the rude bits Elektra edited it for the censors. The original is now released and is best heard in the Perception remasters. (well worth buying albeit a cheesy box set).
For me its the best song ever recorded. It is stand out, head and shoulders above anything by any band. Nothing comes close, and nothing else from The Doors comes close, although they tried.
I first got the album from a girlfriends mother. I took it home and put it on the record player. When The End came up, I stopped, sat down and trance-d out. It was like going to Church for the new disciples. The messaging is clearly personal for him, a mix of journey and emotion. Now I am older it still comes across as fresh but definitely the thoughts of a young man trying to be worldly and show his intelligence and concepts of autobiography. Let him have his artistic licenses, it fitted with the times.
I will swing back to the music. The guitars, the drums and the organs are sublime. Each player sounds like a seasoned pro, yet guitar and drums were from two guys that were barely shaving. Awesome, awesome, awesome and so hard to replicate.
Morrison uses the first several verses of The End to describe a break-up of a relationship and to introduce his premise. The end of child-like innocence and the conscious dawning of life's immense pain and suffering. Simple enough. But when he launches into "Lost in a Roman wilderness of pain…" he draws upon timeless archetypes and symbols (many embraced by Native American cultures) with which he was intimately familiar and which reside within the subconscious of us all.
ROME = The Eternal City. Duality. The Eternal City isn't Heaven, it isn't a conclave of the enlightened, it's not free nor true; it's really a wilderness of pain and anguish and insanity (an apropos assessment given the turbulence of Jim's era). Relief comes in the form of a "summer rain."
RAIN = Cleansing, renewal, water of life, nourishment for Mother Earth and her creatures. But too much leads to flooding, destruction and death. Duality – even that which has the power to cleanse also has the power to kill.
DANGER ON THE EDGE OF TOWN: It is dangerous to stand outside society's boundaries. Jim says take your own journey, a path to the unknown, and screw society's conventional mores.
KING'S HIGHWAY = The most significant trade route of ancient culture, originating in Egypt and ending at the Euphrates River. An extremely dangerous passage for a tribe passing through multiple kingdoms. So the journey to the home of man was fraught with the possibility of death. It is my belief Jim was using it as a metaphor for Interstate 10, which stretches from his birthplace in Florida, across the southern US to Santa Monica and the Pacific Ocean. He is beckoning all to follow his path westward (LA has been a mecca since the late 40s), even though it may be a venture with forays into the dark and unknown, full of fear and trepidation ("weird scenes inside the gold mine").
JOURNEY = used multiple times (King's Highway, the Snake to the Lake and the Blue Bus). The call of fate to an unknown, potentially dangerous place. The quest for self-discovery and change with "the end" resulting in enlightenment. EVERY HUMAN EXPERIENCES THIS.
THE SNAKE = Jim's favorite archetype (a form of the serpent) and probably the most dual-natured of all symbols. 1) It is Evil and Death… the most common of human phobias, reaching across almost all cultures through the millennia. It comes out of the ground (the underworld) and fear of it actually touches all primates because the snake is predatory, strikes without warning and is deadly. 2) It is Good. It is the ancient rod of Asclepius, symbolizing healing and medicine and still used today. It represents the umbilical cord that joins all humans to Mother Earth. A snake shedding its skin represents throwing off the past and living anew. Finally and most interestingly, this innate image of danger is often seen as a symbol of rebirth specifically because it causes death.
THE ANCIENT LAKE = represents the transition from life to death to resurrection.
THE BLUE BUS: The busses of Santa Monica were/are blue. You could/can ride them from UCLA (his school) to Venice Beach (his hangout). It shouldn't be overlooked that the trip was/is approximately SEVEN miles ("The snake is long... seven miles."). Again, a journey to the unknown: "Driver where you takin' us?" Jim knows the ultimate destination (enlightenment) but how is the "driver" going to get him there? Through death, in "…the back of the blue bus."
THE OEDIPUS INSERTION = the Sophoclean tragedy has already been well-documented here, especially by those who quoted Densmore's take in "Riders on the Storm." Jim announces he's aiming for Greek theater by stating the killer "took a face from the ancient gallery…" Greek actors wore masks. In Oedipus Rex, the tragedy was prophesized and many believe Oedipus to be solely a victim of fate. However, the deeper interpretation is that he was a victim of fate AND his own free will, which makes his actions self-fulfilling prophecies. Fast forward. Morrison, intimately familiar with philosophy, knew it was a self-fulfilling prophecy, a combination of fate and free will. What he says in this section of the song is screw the fate, exercise your free will, make a conscious decision, then SYMBOLICALLY commit the Oedipal act. Kill the Father, F* the Mother. Kill all the rules, the conventions, the norms, the constraints, everything instilled in you by your parents, society and culture. Embrace and love only that which is natural and pure: Mother, Earth, Birth, Death, Resurrection and Enlightenment.
If you've read this far, I'd ask you to now re-read the lyrics or listen to the song and see if you don't have a better understanding of it.
BTW, the Doors and company recorded only two takes of the studio version of the song. The second was used in its entirety. No splicing and amazingly, not a single overdub. What you hear at the end of side two of their debut album is EXACTLY what was recorded – straight through – in the studio.
( Destroy characteristics instilled by your mother and father. Dig so deep, which can be hard but through psychidelics it can be fairly easy, to find yourself truly, and recognize what you want in life and who you are, not what other told you to be. )- ALEC
I dont look at it like the song means death.. I think it means like The End of the world, with what few people are left around. I think the line "desperatley in need of some strangers hand, in a desperate land" is a good example of that. Which sounds like it could be so possible.
I dunno.. I just think this song is gold... Gold....
"Can you picture what will be
So limitless and free" - The freedom the comes with death.
"The killer awoke before dawn, he put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and...then he
Paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door...and he looked inside
Father, yes son, I want to kill you" Him killing his father. I dunno if he hated his father, but death was beautifal to him, maybe he wanted to free his father? .
Theres alot in it I don't understand. Like "The west is the best". But from what i understood, it is about Death, The End.
probably one of the most confusing of all time. i read somewhere that its a love song about the end of a relationship and the ediepus was one of his shamanistc rants, you could say.
As far as the song goes, it's generally acknowledged that it relates to the Freudian Oedipal Complex. That's a stage that adolescent boys go through where they hate the father for competing with them for the mother's attention. Hence, wanting to kill the father and have sex with the mother.
It's based on the myth of King Oedipus who killed his father and had sex with his mother. As you mature, you're supposed to outgrow that phase. If not, you are a troubled adult.
On the first album, since he couldn't use the F word, I always thought he said, "Father, yes son. I want to kill you. Mother. I want to MOLEST you." But he garbles the word Molest. That's the way I always heard it.
Regardless of the meaning, it was always one of my favorite songs.
The killer awoke before dawn, he put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and...then he
Paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door...and he looked inside
Father, yes son, I want to kill you
Mother...I want to...f--k you
and Ernie from Dover, DE, jim rocks, dont be such a downer.
Yes, I really love the Indian raga sound it has to it, Morrison's menacing vocals, then you get slammed (at least on the Apocalypse Now version) with a lyrical shock as no other.
Nihilistic, haunting, sinister, all wrapped together.
I first heard this song and the album in India in 1967. It is still one of my all time favorite songs and albums. The Morrison vocals are, of course, great but the dreamy instrumental parts of it are out of this world also. I have always thought the song was about a drug trip or trips or a life of drugs. "We'll take care of the rest." A bad trip will produce the kinds of images that sear through the body of the song. It may also be about Oedipal feelings and a 7-mile highway to Santa Monica on the blue city bus, but mostly I think it depicts a drug trip. The downside of the song is that it may glorify tripping out too much, but it also hints at the now widely understood devastation that halucinogens (sp)can cause to the brain chemistry of our kind. Of course a bad trip can also result in the ultimate "The End," death. (Sadly, we cannot confirm this by talking to Jim Morrison but the manner of his own end helps prove it.) Despite all this, I still love this haunting song and the album.
If it's any consolation, here's ultimate proof that they're a bunch of idiots:
Keith Emerson is a famous rock keyboardist, who formed his first band, the Nice, in 1967. This band featured Lee Jackson on bass and vocals (GOD SPARE US!!!) and the late Brian "Blinky" Davison on drums.
Three years later, he formed the better-known Emerson, Lake & Palmer. Greg Lake is an infinitely better singer and bass player than Lee Jackson, and he also plays guitar, while Carl Palmer is likewise better than Blinky.
Therefore, Emerson, Lake & Palmer must be a better band than the Nice.
Now fast-forward a few decades: Blender magazine published a list of the 50 worst artists ever, with Emerson, Lake & Palmer coming in at #2.
The artist in the #1 spot is not the Nice, it's Starship. Or something.
As we have just seen, this doesn't make any sense whatsoever.
Therefore, the idiots at Blender magazine don't know what they're talking about.
It was on my favorite show The Simpsons twice.
Every beginning has an end.
"Father - yes son - I want to kill you. Mother - I want to.........." - I remember about Zigmund Freud, huh.
I am a psychology major and can't help to think that this song has alot of sympolism related to the theory of Frued.
The song is good.
I dont know, it is very difficult because we could discuss for years
One great big joke. People "end" because they perceive that. I cant say for sure, but I think Morrison was poking fun at his fans, and calling them "followers" for eating up anything he trew out. Perhaps the song is sang from the perspective of the "negative" so called people here in america. "west is the best.. blah blah blah the whole song" It seems he laughed at everyone. His band.ect.. Because they were serious about creating "enlightening music" Wbat are we supposed to realize... The only true knowledge is that we know nothing? He hated the fact people ate anything he threw out, so why not make something with an inside joke.
I think the music was the only good thing, and it was to be made as a audience perception of what his message was. Im just saying.. I wouldnt take morrisons word on things without verifying it. He was a prankster, and hated sheep. What not a better cozmic joke. If I didnt respect them.. that would sound like a good idea to do to them.
Not the worst sing ever made?
As for the talk of doing drugs and being gods.. Someone said people can only be called god if they are 'THE ALMIGHTY' which is one of the dumbest things I've heard, what is a god other than a figure people look up to.. And drugs; If someone did/does drugs it is their choice and you can't hold that against their art.
You say that artists are just regular people who can sing well, well I?m afraid I strongly disagree with you. If a person could be named an artist simply by ?singing well? than the term would be used a lot more loosely. A person can learn to sing, just as a person can learn to play an instrument, but that doesn?t make them an artist. Artists are born not made. Although yes, they are ?regular? people, you can not under value the incredible work that they did. If it wasn?t for ?the gods of music? (I?d like to point out that it is spelt without a capital G, there fore not referring to them as THE God), we would not have any of the music we have today. An artist is someone who creates their art, whether it be physical or musical, for themselves and not for others, and if people happen to like it, then great, that artist becomes famous. But I?d like YOU to keep in mind that we are the ones who create fame, therefore just because we praise a certain persons work, does not mean that that work should be under valued for any reason. The Doors created incredible music and just because they did drugs and were promiscuous is no reason for us to devalue the amazing art that they created and performed. Ones personal choices and lifestyle is none of our business and does not change the work that they do. Going around with the attitude that everyone is just a ?regular? person must be such a boring way to look at the world. If everyone were ?regular? than that would make everyone the same, but I believe it is our differences that make the world interesting. While we, who actually appreciate good music and talent, see the world in colour, you look at it in black and white and for this, I feel sorry for you.
living , the blue bus was the one which took
you to the seashore (the beach).
It's a shame he died so young. I would have loved to see where he would have taken us had he had more time.
And can i just ask, blue bus??? Whats that all about??? I know the mans a poet and all, and this songs great, but please dont try and tell me that a blue bus is a metaphor for something...
-Cam, Irvine, California
He did not want to die, he loved living and he was constantly (according to himself) testing the bounds of reality. And a there´s a thing that makes me laugh, a story of Jim. He´s sitting on bar and all the guys at the bar are teasing Jim about the end, about having sex with your mother (oh, hilarius). And Jim says: Oh come on guys. I don´t wanna f**k my mother!!!. (a moment of silence) I wanna f**k YOUR mother! And he usually started barfights this way.
Yea, that's right, go listen to it again.
.........the end (of the debate), jd
1) We all meet "The End" - sooner or later. No heaven, no hell, just silence.
2) No matter what drugs you take, you are who you are and you can only try to be what you want to be.
3) If only we had more thinkers with heart today, we'd probably be in a far better state than we are --> maybe Laura from Dudley should go sign up to be the first contestant in George W's "Who's microchip is it?" gameshow.
" Yes , son?"
" I want to kill you"
" MOTHER! I WANT TO F--K YOU!"
Jim was really ahead of his time. He also sang about pollution for example in the song Peace Frog: "The human race was dying out, no one left to scream and shout. People walking on the moon, the smog will get you pretty soon"
The guy's a legend and one of the best American Poets that ever lived.
"Indians scattered on dawn's highway bleeding.
Ghosts crowd the young child's fragile eggshell mind."
Professor Louis Hall
Feb 19, 2005
'People are afraid of themselves, of their own reality; their feelings most of all. People talk about how great love is, but that's bull. Love hurts. Feelings are disturbing. People are taught that pain is evil and dangerous. How can they deal with love if they're afraid to feel? Pain is meant to wake us up. People try to hide their pain. But they're wrong. Pain is something to carry, like a radio. You feel your strength in the experience of pain. It's all in how you carry it. That's what matters. Pain is a feeling. Your feelings are a part of you. Your own reality. If you feel ashamed of them, and hide them, you're letting society destroy your reality. You should stand up for your right to feel your pain.' ~ Jim Morrison, The Lizard King
During the late 1960's bands sang of love and peace while acid was passed out in there concert halls. But for The Doors it was different. The nights belonged to Pan and Dionysus, the gods of revelry and rebirth, and the songs invoked their passions, like the Oedipal Nightmare of 'The End'. Unfortunately, people never quite understood what he was trying to do, which was religious, and before his time. Critics called him pretentious for taking himself so seriously; few of them new enough about the myths and religions to put all the pieces together the way only Jim could.
First Jim speaks 'Of our elaborate plans, the end, of everything that stands, the end, no safety or surprise, the end.' He speaks of the undoing of all things as they exist today. Many might take it as if he were speaking of suicide, but it's not the suicide of a man but that of a culture, that of a society. I feel the same as Jim does, his lyrics talk in these lines of all the pieces of society falling away, as he suspects they will. He feels the injustices of society will tear themselves apart. 'No safety or surprise, the end.'
Jim goes on in the next lyric 'Lost in a Roman' wilderness of pain and all the children are insane all the children are insane waiting for the summer reign, yeah' the lyric 'summer reign' is misinterpreted as summer rain. Jim actually speaks of the reign of Dionysus, the god of revelry who is celebrated on the summer solstice by the Greek pagan religions. He refers to Rome as his own society, in a manner that he means he is an outcast of society and he does not fit in. In the lyric 'all the children are insane' he refers to all the people of society being mad in comparison to he who has been enlightened.
Jim's next lyric speaks of the danger of fighting the oppression of the mind that existed in society at the time and still today. It's important to note here that Jim speaks as if he were the 'west' or the 'King' in these lyrics, 'There's danger on the edge of town ride the King's highway, baby weird scenes inside the gold mine, ride the highway west, baby' He speaks of society's way of coercing the mind to fall into the track laid for it, telling it what to do, think, wish, want and dream. And of the 'danger at the edge of town' a warning not to wander too far so as to we noticed. He beckons 'ride the highway west, baby' in this lyric calls to the eastern cultures or the 'old ways' to come to the west to merge to our society, to follow the west as it spirals further down the rabbit hole.
Jim's next lyric is 'Ride the snake, ride the snake to the lake, the ancient lake, baby the snake is long, seven miles ride the snake' he's old, and his skin is cold' when Jim refers to the snake he uses it as a metaphor for the world. 'I used to see the universe as a mammoth snake, and I used to see all the people and objects, landscapes, as little pictures in the facets of their scales. I think peristaltic motion is the basic life movement. Swallowing, digestion, the rhythms of sexual intercourse.' The words of the Lizard King himself.
Jim's following lyric is, 'The west is the best the west is the best get here, and we'll do the rest' I think this lyric talks about the way western society seems to have of trying to enculturate the rest of the world as we see fit. A rather disgusting habit by Jim's professions and I can't agree more. He speaks of the pompous nature we Americans seem to have, thinking we always know what is best for everybody. For example, America has had its dick in the sand for the last 11 years trying to pump out some oil but succeeding only in a shameful pre-ejaculation that has cost the lives of thousands upon thousands of innocent people, not to mention hundreds of billions of my tax dollars. Thank you Bush Regime!
The next lyric is brief, 'The blue bus is callin us the blue bus is callin us driver, where you taken us' I believe Jim is referring to his depression. I will go into more depth with this later; there is a similar lyric that will help explain this one.
The next lyric is my favorite part of the song, it may seem shocking and Oedipal but I will explain, at least my interpretation. 'The killer awoke before dawn, he put his boots on he took a face from the ancient gallery and he walked on down the hall he went into the room where his sister lived, and...then he paid a visit to his brother, and then he he walked on down the hall, and and he came to a door...and he looked inside Father, yes son, I want to kill you Mother...I want to...f--k you' My interpretation of this lyric isn't so disturbing. He takes the face from the ancient gallery, the face is just a pseudonym for a personality for himself, if that's what he wants it to mean. When he kills his sister, he is killing his weakness. When he kills his brother he is killing his piers that reject him and his ideas. When he tells his father that he wants to kill him, he is speaking to the part of society that would oppress and punish him. And when he tells his mother he wants to engage in coitus with her, he is embracing all the nurturing influences of the world. Jim did a lot of drugs though maybe he was just an Oedipus case.
This lyric ties in to the earlier lyric, 'C'mon baby take a chance with us C'mon baby take a chance with us C'mon baby take a chance with us And meet me at the back of the blue bus Doin' a blue rock, on a blue bus Doin' a blue rock, c'mon, yeah Kill, kill, kill, kill, kill, kill'
This is a morbid lyric I'm rather certain that Jim is speaking of a cult ritual suicide scene. Jim was a crazy guy I think this is a little out of context with the song.
The final lyrics to the song, 'This is the end, beautiful friend this is the end, my only friend, the end It hurts to set you free but you'll never follow me the end of laughter and soft lies the end of nights we tried to die' Jim talks to the listener, to me here. He tells me that we must now part but assures me that he won't mind when I change the CD, the song happens to be the last song on the CD, every CD it's on. The final lyric is,
'This is the End'
"Father, yes son, I want to kill you
Mother...i want to...f**k you"
I dont like when people refer to musiciains and such as geniuses... Jim Morrison is cool and everything dont get me wrong, but in No way was he a genius? He took acid and saw things that people didnt usually see, which made a picture in his mind basically and he wrote words to it.
SoOoOoOo * Jessica, San Jose, CA * If I take some acid am I genius?
everone knows the myths about "if you remember the sixties you werent really there" and that is truthfull to an extent.
we were all triping but that night morrison calmly sang his tunes peacfully almost luring us into a web, and then... the end.
at first we were all dancing, its actually got pretty cool sound you know.
but it gradually revealed itself to us as the evil song it is. he sung a harmonic blue bus verse and the music dimmed. at this point we had all stopped dancing we were all eager to hear this morrison fellow improvise, but what followed was wrong, he stood perfectly still and spoke as though nothing was wrong with what he was saying. ."the killer awoke before dawn, he put his boots on, he took a face from the ancient gallery and he walked on down the hall." - now at this point everyone was exchanging nervous looks, we all knew, even the band knew, that jim had tripped on some serious acid. but jim kept talking without hesitation, and then he said it, "mother i want to f--k you". at that point the band panicked, they just played as fast as they could and everyone was stunned and in awe of this tightly panted fellow singing to us. the bar was pretty packed everyone had been talking about them around town so we all came in groups. we were all high.
Riding the snake, the serpent, ancient and archetypal, strange yet disturbingly familiar, powerfully evocative, sensuous and evil, strong, forbidding. When Morrison intoned, "The killer awoke before dawn and put his boots on/he took a face from the ancient gallery/and he walked on down the hall," we were walking down that hall with him, in dread, paralyzed, powerless to stop, as the music wove a web of hysteria around us, wrapping us ever tighter in its web, Morrison enacting the tragedy, the patricide, the horror, unspeakable torment. WE SAW IT, WE FELT IT, we were there. We were hypnotized. Reality opened up its gaping maw and swallowed us whole as we tumbled into another dimension. And Morrison was the only guide: "And I'm right here, I'm going too, release control, we're breaking through..." And then we did.
"Lost in a Roman wilderness of pain." It wasn't merely a line in a verse. It was an epitaph for the moment, a photograph of the collective unconscious. The symbols were timeless and the words contained stored-up images and energies thousands of years old, now resurrected. Early in the group's career, Jim tried to explain some of this to a journalist: "A Doors concert is a public meeting called by us for a special dramatic discussion. When we perform, we're participating in the creation of a world and we celebrate that with the crowd." A few days before he flew to Paris, to his death, Jim gave to me what would be his last statement to the press: "For me, it was never really an act, those so-called performances. It was a life-and-death thing; an attempt to communicate, to involve many people in a private world of thought."
The implications of an "Oedipus complex" extend beyond Freud's typical sexual perversions, insofar as the original stage can be interpreted as being a full-scale assault by the infant on the forms of authority in the family. Thus, an adult with such a complex could be characterized by a wholesale disregard for the higher-level forms and structures of social order. If anyone is familiar with Leslie Charteris' "The Saint" short stories (later dreadfully adapted into a Val Kilmer movie of the same name), the central character (the thief/general rabble-rouser Simon Templar) is in one story described as having an Oedipus complex because he deliberately breaks the law simply because it is the law.
Thus, the incorporation of distinctly Oedipal themes into this song seems to imply that, if not describing "The End" of the world, it is at least deliberately describing "The End" of formal social order, as brought about by some powerfully destructive avatar for Entropy - a Lizard King, perhaps? Morrison is reputed to have at some occasions and in the grips of certain drugs have developed a certain megalomania regarding his own world-historical role in overthrowing oppressive societal structures. The man who wants to kill his father and f--k his mother is clearly a wild force of natural rebellion against all authority, matriarchal and patriarchal alike. Only by killing the male principal of force and command and utterly possessing and subjugating the female generative principal can we truly free ourselves.
By the way - while Morrison did love William Blake, Blake was not a philosopher, he was a poet and artist.
This was explained to either Densmore or Rothchild by Jim Morrison. The gist of it is:
In life, the Mother gives us nourishment, life, warmth... things that make us what we are. These are the things we must embrace. The things we must love.
The Father gives to us what we learn. The Father teaches us what The Father believes.
F--- the Mother is to embrace what is you. The essence, reality, nature.
Kill The Father is to reject everything that is not a part of you; but is instilled into you - alien concepts.
I don't recall hearing, "screw the mother", or"f--k the mother" in the live versions.