The six best Ray Manzarek performances with The Doors
Whilst Jimi Hendrix and the Grateful Dead lodged strong claims to be the ultimate countercultural act, no argument is as substantial as the one that The Doors put forth. Formed in Los Angeles in 1965, the quartet was frontman Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger and drummer John Densmore.
Channelling the esoteric essence of the counterculture, it was primarily thanks to the mythos established by Morrison that the group advanced to become poster boys of the hippie rebellion. Thanks to Morrison, their art is imbued with a carnality unlike anything else.
Despite the majority of the conversation of The Doors concerning Jim Morrison, the band would not have hit the heights that they did without each pivotal member. After all, Krieger wrote or co-wrote a significant swathe of their most essential cuts from ‘Light My Fire’ to ‘Love Her Madly’, and Densmore held the group together, both in a figurative and musical sense.
Outside of these parameters, props must go to Manzarek, arguably the one taking the label as The Doors’ secret weapon. Fusing psychedelia with a jazz sensibility, Manzarek provided the quartet with their bass and simultaneously elevated their sound with his busy lead lines. The latter dovetailed with Krieger’s guitar to assist fans in being transported to a different dimension whilst also being their catchy pull factor for the mainstream. Thanks to his dynamism, the band continues to welcome new listeners to their kaleidoscopic world, some 50 years after they split and a decade after his death in 2013.
Ultimately, Manzarek made The Doors stand out from the crowd. Because of this, we’ve listed his six best keyboard performances, as he was an overlooked master of the ebony and ivory.
The best Ray Manzarek performances with The Doors:
6. ‘Riders on the Storm’ – L.A. Woman, 1971
‘Riders on the Storm’ has long been hailed as one the most significant Doors songs, with it one of the clearest musical representations of their position as the ultimate hippie act. Taken from their final album with Jim Morrison, L.A. Woman, this atmospheric cut features one of Manzarek’s best performances, channelling the dynamism of bebop and other less restricted forms of jazz.
Although his sensual work carries the entire song, proceedings are boosted when he delivers one of his signature solos during the midpoint. An extended masterclass in using both hands to full effect, whilst reflective of his virtuosity, Manzarek doesn’t overcook it. It’s measured and fits in perfectly, breaking up the rhythm of the song, and slowly building up to a climax. The descending flourish he delivers at the end of the section is timeless.
5. ‘Hello, I Love You’ – Waiting for the Sun, 1968
Since its release in 1968, a fan favourite of The Doors has been ‘Hello, I Love You’. Notably, it was one of the six tracks Rick and The Ravens recorded at World Pacific Jazz Studios in their attempt to secure a record deal. This early group featured every member except for Krieger, with them eventually adopting The Doors name when joining up with the guitarist.
As for Manzarek’s performance, it is one of his most pleasing earworms. A bouncy keyboard line that utilises a cheesy-sounding keyboard, it has been noted for its similarities to the melody of The Kinks’ ‘All Day and All of the Night’. Despite this criticism, though, it’s still a fine piece of work. Manzarek carries the track, once again giving Morrison the grounding to deliver his syllabic vocal performance.
4. ‘Touch Me’ – The Soft Parade, 1969
Whilst people of a certain generation are familiar with this track from 2003’s School of Rock, years before Richard Linklater and Jack Black’s hit comedy, ‘Touch Me’ had been considered one of the most exquisite pieces The Doors captured. An emotive track, the brass and Morrison’s heartfelt performance are two highlights.
However, one of the other glittering aspects comes from Manzarek’s fingers. In the verses, a bouncing keyboard line instantly lodges itself in the brain. Then, on top of the main refrain, Manzarek delivers some stunning licks that link up with the swooning orchestra to full effect. Look no further than the glistening harpsichord when the rest of the band drops out.
3. ‘Break On Through (To the Other Side)’ – The Doors, 1967
A feverish Doors song, there’s no surprise that this is one of their most popular. Featuring a howling Jim Morrison performance, a frenzied chorus riff from Krieger and one of Manzarek’s best moments on the keyboard, his solo on this piece ranks among his best.
Although Manzarek is effervescent here, he does not stifle his bandmates. Instead, he provides the bass and another melodic means of augmenting the piece. It’s a winding flourish that enables Morrison and the band to arrive at a climax. Note how Manzarek links up with Densmore at the end to create palpable tension. This is a simple but effective demonstration of a keyboard using rhythm to augment its force.
2. ‘People Are Strange’ – Strange Days, 1967
‘People are Strange’ had to be near the top of the list of Manzarek performances. A slightly creepy number that appeals to the dark elements that would eventually engulf the counterculture, the sound of traditional European cabaret is distinct here, with much of this attributed to the mastery of Manzarek.
Another more punchy cut, the song would not be the classic it is without Manzarek. He instilled it with its unique style, which helped it to stand out in The Doors’ back catalogue, and on the charts. Evoking the spine-tingling images of 20th-century Expressionism, this track would sound empty without their keyboardist.
1. ‘Light My Fire’ – The Doors, 1967
The ultimate Ray Manzarek performance. Not only is this iconic, but it epitomises everything The Doors were about. Totally hypnotic and intelligently written; all the band members were on heat with this early cut. However, it is Manzarek who really stands out. Whether it be the introduction, his solo, or the grandiose twist at the climax, without his presence, this song would not be the timeless piece of history that it is.
Manzarek’s solo is utterly magical, with it best described as narcotic. As potent as any drug out there, it’s a tribute to its strength that it has assisted many listeners in taking off to other realms when in already altered states. Additionally, how Manzarek’s solo seamlessly gives way to Krieger’s own is arguably the best moment The Doors delivered. Here, Manzarek was the sound of the counterculture, and it’s timeless.
It’s hard not to press repeat on this track.
