A Analogue Productions e a Quality Record Pressings têm a honra de anunciar as reedições dos The Doors, os seis álbuns de estúdio apresentados em Capas Gatefold Deluxe com 2LP Vinil Audiófilo 180 Gramas, e corte a 45rpm. Masterização analógica por Doug Sax e supervisão de Bruce Botnick, o lendário produtor/engenheiro dos The Doors, estes grandes álbuns têm agora o melhor som de sempre, glorioso som puro analógico!

Rolling Stone 500 Melhores Albums de Todos os Tempos posição 42/500

• Edição Limitada
• 2LP 45rpm Vinil Audiófilo 180 Gramas
• Prensagem na Quality Record Pressings, USA
• Masterizado por Doug Sax com Sistema a Válvulas
• Corte a partir da melhor Fonte Analógica
• Supervisão de Bruce Botnick engenheiro dos The Doors
• Capa Gatefold Deluxe

Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 180-gram vinyl, pressed at 45 rpm. All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.

A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby! This is no time to wallow in the mire. The Doors are on Analogue Productions!

Technical notes about the recording process by The Doors producer/engineer Bruce Botnick:

"Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate.

"If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue eight-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, three-track. On EKS-74007, The Doors, we used four-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room.

"When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters." - Bruce Botnick, July 2012

One of rock music’s most famous debuts, The Doors self-titled 1967 smash is legend. And now it becomes the kick-off for a positively stunning reissue series from Analogue Productions and Quality Record Pressings!

The Doors was born after Jim Morrison and Ray Manzarek — who'd met at UCLA's film school — met again, unexpectedly, on the beach in Venice, CA, during the summer of 1965. Although he'd never intended to be a singer, Morrison was invited to join Manzarek's group Rick and the Ravens on the strength of his poetry. The group later changed its moniker, taking their name from Aldous Huxley's psychotropic monograph "The Doors of Perception." The band signed to Elektra Records following a now-legendary gig at the Whisky-a-Go-Go on the Sunset Strip.

The Doors' arrival on the rock scene produced a string of hit singles and albums destined to become classics. Belting out a standard like “Back Door Man” or talk-singing such originals as “The Crystal Ship,” and “I Looked at You,” one reviewer wrote that leather-clad frontman Morrison exuded “both sensuality and menace.”

The Doors reached Billboard’s No. 2 slot and delivered the No. 1 signature smash “Light My Fire” plus “Break On Through,” “The Crystal Ship,” and “The End.”

"The album holds up incredibly well, which is why it's revered both by boomers and their children and their (gasp!) grandchildren. The raw power contained in Jim Morrison's voice, combined with uncommon precision still dominates but appreciating everyone else's contributions becomes easier with the passage of a lot of time... The double 45 has greater dynamics, detail, spaciousness and appropriate grit—everything the smooooth 192k/24 bit sourced version lacks. Definitely on my recommended list and the Quality Record Pressings vinyl is superb." - Michael Fremer, Analog Planet

"After blowing minds as the house band at the Whisky-a-Go-Go, where they were fired for playing the Oedipal drama "The End" (which was too explicit for even the Sunset Strip), the Doors were ready to unleash their organ-driven rock and Jim Morrison's poetic aspirations on the world. "On each song we had tried every possible arrangement," drummer John Densmore said, "so we felt the whole album was tight." "Break On Through (to the Other Side)," "Twentieth-Century Fox" and "Crystal Ship" are pop-art lighting for Top Forty attention spans. But the Doors hit pay dirt by editing one of their jamming vehicles for airplay: "Light My Fire," written by guitarist Robbie Krieger when Morrison told everybody in the band to write a song with universal imagery." - Rolling Stone

"Morrison had worked on a student production of Oedipus Rex at Florida State. But his exploration of its sexual taboos took on bold new life in the 11 minutes of 'The End,' which evolved during the Doors' live shows at L.A.’s Whisky-A-Go-Go. 'Every time I hear that song, it means something else to me,' Morrison said in 1969. 'It could be goodbye to a kind of childhood.'" - Rolling Stone

Músicos:

Jim Morrison, voz
Ray Manzarek, orgão, piano, baixo
Robby Krieger, guitarra
John Densmore, bateria

Lista de Faixas:

LP 1 Lado A
1. Break On Through (To The Other Side)
2. Soul Kitchen
3. The Crystal Ship
4. Twentieth Century Fox

LP 1 Lado B
1. Alabama Song (Whisky Bar)
2. Light My Fire

LP 2 Lado C
1. Back Door Man
2. I Looked At You
3. End Of The Night
4. Take It As It Comes

LP 2 Lado D
1. The End

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