THE DOORS' DRUMMER J. DENSMORE: HIS USE OF THE "LATIN BEAT"

 

John Densmore and his drums helped create the highly original and evocative sound that characterized The Doors.

One of the most distinctive percussive elements he brought to the music the group produced in its early years is the "latin beat”.

This term refers to the transposition into the rock genre of certain drums/percussions accents that are characteristic of Latin American music.

This instrumental feature, which was particularly pronounced on the tracks recorded for The Doors' first two LPs (which means from August 1966 to August 1967), was fluently integrated into the band's music without altering its basic rock-based approach.

An exotic yet unobtrusive rhythmic addition that allowed the Californian band to tinge their songs with unusual cadences and nuances, further distinguishing them from other artists of the time.

Let us take a look at the role and effect of this drumming style in each of The Doors compositions in which John Densmore used it.

 

"Break On Through (To The Other Side)" (from “The Doors”, recorded in 1966).

The verse of this rock staple is led by an explicitly bossa nova rhythm, a fusion of cool jazz and samba (traditional Brazilian music) born in the 1950s.

We can notice this peculiarity, for example, from min. 0.00 to min. 0.15, but it is repeated in all the verses.

Determining this pattern recovered from Bossa Nova is, in particular, Densmore's drumstick on the edge of the snare drum.

 

"The Crystal Ship" (from “The Doors”, recorded in 1966)

Here are the choruses that are characterized by a kind of Latin-style drumming very similar to "Cha Cha Cha".

Densmore deploys a less dynamic and more relaxed version of this kind of Latin rhythm, keeping himself in line with the slow tempo of "The Crystal Ship.

Durin the drum part we just highlighted, the tom-tom (a deep and elastic-sounding drum) is used alternately with the edge of the snare drum.

We can hear an example of this style from min. 0.15 to min. 0.38, bearing in mind that it applies to all the choruses of the song.

The lazy, sensual "cha cha cha" that the drummer lays down in the choruses of "The Crystal Ship" continues unchanged even during Ray Manzarek's piano solo (min. 1:10 to min. 1:29).

Densmore thus helps define the psychedelic appeal of the song, one of the first compositions recorded by The Doors to reveal this attitude.

 

"Light My Fire" (from “The Doors”, recorded in 1966).

In this famous song, The Doors drummer returns to bossa nova to accompany the verses (for example from min. 0.10 to min. 0.23 or from min. 0.39 to min. 0.52).

As in "Break On Through", the syncopated rhythm struck on the edge of the snare drum remains the main element that brings this type of "Latin beat" to life.

The effect created by this percussive device creates a sense of anticipation and excitement as the chorus approaches.

What's more, through the bossa nova rhythm, the verses of "Light My Fire" are clearly distinguished from the choruses (where the drums switch to rock) with surprisingly effective results.

 

"I Looked At You" (from “The Doors” - recorded in 1966).

The verses of "I Looked At You" are set to a Latin rhythm very similar to the mambo.

The opening introduction and the first verse are the parts of the song where you can hear Densmore's lively approach most clearly (min. 0.03 to min. 0.23).

So, before the drummer dives into the rock style for the chorus, he decorates the verse with this charming trend that runs between the aforementioned tom-tom and the edge of the snare drum struck by the drumstick.

 

"Moonlight Drive" (from “Strange Days” - recorded in 1967).

To be utilized here is the unmistakable and sensual rhythm of the tango, obtained by Densmore playing on the snare drum.

We find it at the beginning of the composition, from min. 0.09 to min. 0.34 (the first verse) and again from min. 0.44 to min. 0.54 (the first chorus).

The sense of suspense and mystery created by the tango that Densmore alludes to at the beginning of "Moonlight Drive" is extremely suggestive in matching the song’s sound atmosphere to the meaning of the lyrics.

In the following verses and choruses, this rhythm is abandoned in order to emphasize the different developments of the (inner) moonlight drive painted by this masterpiece of a song.

 

"My Eyes Have Seen You" (from “Strange Days” - recorded in 1967).

In the verses of this beautiful rock song we find the same percussive inspiration and performance technique already mentioned above for the choruses of "The Crystal Ship", but slightly accelerated in tempo (min. 0.08 to min. 0.21 and min. 1.10 to min. 1.24).

In these passages, the verses of “My Eyes Have Seen You” prepare for the entrance of the swirling chorus with its simultaneously tenuous and meandering progression.

 

 "I Can't See Your Face In My Mind" (from “Strange Days” - recorded in 1967).

The bossa nova drums pattern returns in the choruses of this fascinating psychedelic composition (for example from min. 0:30 to min. 0:48).

We find the mournful, languid alternation between tom-toms and the edge of the snare drum also in the interpretation of the Brazilian jazz rhythm that The Doors’ drummer presents in "I Can't See Your Face In My Mind.

 

"When The Music's Over" (from "Strange Days" - recorded in 1967).

The Latin-like cadence derived from "cha cha cha" and mambo, previously observed in "The Crystal Ship" and "I Looked At You," is found at several moments of this magnificent suite (e.g., from min. 0.56 to min. 1.24 or min. 1.48 to min. 2.07).

A perfect background for the unfolding of a great tune whose mysterious movements are enveloped by the haunting feeling generated by Jim Morrison's words.

P.S.: My book "The Doors Through Strange Days"- The most comprehensive journey ever made through The Doors' second LP, is out and available on Amazon.com!

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