{"product_id":"the-doors-the-soft-parade-vinyl-import","title":"The Doors - The Soft Parade [Vinyl, Import]","description":"\u003cp\u003eOn The Doors’ 1969 album, \u003ci\u003eThe Soft Parade\u003c\/i\u003e—the group’s fourth release in just two and a half years—the band members and their producer, Paul Rothchild, expanded their sound to include studio horns and strings. It was a decision many of the group’s peers had made in recent years, but what had sounded revolutionary when The Beatles and The Beach Boys did it just a few years earlier was already considered passé when \u003ci\u003eThe Soft Parade\u003c\/i\u003e’s first single, “Touch Me”, was released in late 1968. And the lush production style had become positively gauche by the time the album dropped in summer 1969—resulting in scathing reviews. While the criticism was not unmerited, it also wasn’t entirely fair. Much of rock’s vanguard—including The Beach Boys’ lead songwriter Brian Wilson—had slowed or stopped touring by the late-1960s, allowing them to focus solely on new music. But The Doors had been stuck in a gruelling recording and performing schedule that was straining the band—so much so that the band’s label head, Jac Holzman, described the \u003ci\u003eSoft Parade\u003c\/i\u003e recording sessions as “grinding them into the ground”. (Morrison’s infamous indecent exposure incident onstage in Miami in 1969 further illustrated the group's downward trajectory.) The entire situation was best described contemporaneously by \u003ci\u003eRolling Stone\u003c\/i\u003e reviewer Alec Dubro: “A rock group must produce vital, listenable, interesting music, or the rest is just so many limp wicks waving in the Miami breeze.” Yet for all of the naysaying, several \u003ci\u003eSoft Parade\u003c\/i\u003e tracks demonstrate The Doors’ ferocious, if no longer innovative, power. “Wild Child” recalls the stark, gothic blues of the band’s early work, while the closing nine-minute title track proves Morrison was still interested in composing extended multi-movement compositions akin to “The End” and “When the Music’s Over”. Later in his review, Dubro would describe The Doors as “in the final stages of musical constipation”. This fortunately proved to be true, as the group’s final two albums—\u003ci\u003eMorrison Hotel\u003c\/i\u003e and \u003ci\u003eL.A. Woman\u003c\/i\u003e—would find the band members returning to their bluesy roots, while still expanding on the form.\u003c\/p\u003e\r\n\r\n\u003cp\u003eTrack List:\u003c\/p\u003e\r\n\r\n\u003cp\u003eSide A\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003e1. Tell All The People\u003c\/li\u003e\r\n\t\u003cli\u003e2. Touch Me\u003c\/li\u003e\r\n\t\u003cli\u003e3. Shaman's Blues\u003c\/li\u003e\r\n\t\u003cli\u003e4. Do It\u003c\/li\u003e\r\n\t\u003cli\u003e5. Easy Ride\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\r\n\u003cp\u003eSide B\u003c\/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003e1. Wild Child\u003c\/li\u003e\r\n\t\u003cli\u003e2. Runnin' Blue\u003c\/li\u003e\r\n\t\u003cli\u003e3. Wishful Sinful\u003c\/li\u003e\r\n\t\u003cli\u003e4. The Soft Parade\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cul\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eReleased: 1996-10-01\u003c\/li\u003e\n\u003cli\u003eGenre: Rock\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"The Doors","offers":[{"title":"Default Title","offer_id":50734559265014,"sku":null,"price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0525\/3716\/3949\/files\/the-doors-the-soft-parade-import_u6yW2.jpg?v=1779904078","url":"https:\/\/rockthistownrecords.com\/products\/the-doors-the-soft-parade-vinyl-import","provider":"Rock This Town Records","version":"1.0","type":"link"}