Line #19 NightmareFuel/TheDoors


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8	Music/TheDoors are infamous for their haunting music and Morrison's spooky lyrics. The fact that Jim Morrison eventually died at 27, in mysterious circumstances, only adds to the creepy atmosphere of many of their songs.
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11	'''[[Music/TheDoorsAlbum The Doors]]'''
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13	* The "Alabama Song" is a cheery song taken from Creator/BertoltBrecht and Music/KurtWeill's opera ''Theatre/TheRiseAndFallOfTheCityOfMahagonny''. At first it sounds like a [[DrunkenSong drinking song]]: ''Show me the way to the next whiskey bar / Oh don't ask why / Oh don't ask why!'', but then it gets disturbing: "If we don't find the next whiskey bar / I tell you, we must die" and repeats that last line up to three times!
14	** And then the second verse shifts from the whiskey bar to what might a reference to paedophilia: "Show me the way to the next little girl."
15	** Oddly enough, the original song has the same lyrics (albeit with "little boy" in the place of "little girl", because the singer is a female prostitute... she also goes looking for "ze next leetle dollar"). The lyrics seem so bizarre because they're actually a [[Main/BlindIdiotTranslation rather terrible translation]] of a poem Brecht wrote in German. Apparently, he was fond of Main/GratuitousEnglish. Presumably "little boy/girl" isn't meant to imply pedophilia... it's merely a messed-up translation of something innocuous.
16	* "End of the Night". The echoed keyboard effect sounds akin to something you'd hear in a haunted house attraction at an amusement park -- one that actually manages to be scary in a trippy sort of way.
17	* "The End". Singing about impending doom is already scary in itself, but near the end Morrison sings about killing his father, raping his mother, whereupon he screams in agony. After this parental murder the lyrics come back one more final time, before Morrison concludes the song with a haunting moan: "This is the eeeeeeeeeeeeeeeeeeeeend!"
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20	'''Music/StrangeDays'''
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22	* ''Strange days have found us, strange days have tracked us down...''
23	* Even though it's relatively mild from a thematic standpoint, "You're Lost Little Girl" is still a very haunting track.
24	* "People Are Strange", where Morrison sings about how "faces come out of the rain".
25	* "Horse Latitudes". Basically, Jim Morrison screaming lyrics for a minute and a half while his bandmates howl like banshees the entire time.
26	** The lyrics -- about a foundering ship tossing its horses overboard to drown -- are genuinely unsettling.
27	* "When the Music's Over". Morrison singing in a disturbingly outstretched song about the moment when "the music is over". The end is especially frightening when he shouts that ''music is your only friend... until the end'', whereupon the entire world seems to die along with him.
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30	'''Waiting For The Sun'''
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32	* The bizarre, disturbing imagery of "Not to Touch the Earth", where Morrison even references the murder of UsefulNotes/JohnFKennedy.
33	--> ''Dead president's corpse in the driver's car''.
34	** As the song progresses, the organ gets crazier as each second passes, up until the end where it starts to ease a bit. Jim Morrison finishes the song with the immortal “I am the Lizard King. I can do anything”, which in itself is creepy enough... [[LastNoteNightmare but then the organ pops back up with one last goodbye]].
35	* "The Unknown Soldier" where halfway through the song, a soldier is shot by a firing squad. The entire song calls up images of soldiers dying in battle, while ''"television children are fed"''. A thinly disguised jab at the UsefulNotes/VietnamWar, which was televised for generations to be scarred by the images.
36	** In concert performances, Morrison would stand at the mic during the firing squad sequence and collapse on-stage as if shot once the drummer makes his rimshot.
37	* "Five to One": ''No one here gets out alive, now.''
38	* An unintentional example: The [[https://www.youtube.com/watch?v=exs6GO2bvjE official lyric video]] for "Hello, I Love You" is done to look like Morrison is texting the subject of the song... except the first lyrics after the title are "Won't you tell me your name," which implies that Morrison knows the girl's phone number ''but not her name''. Then, when the song reaches its "HELLO! HELLO! HELLO!" ending, the 'hello's get progressively bigger and bolder, which gives some stalker undertones.
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41	'''The Soft Parade''' / '''Absolutely Live'''
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43	* The opening monologue from "The Soft Parade". '''''YOU CANNOT PETITION THE LORD WITH PRAYER!'''''
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46	'''Morrison Hotel'''
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48	* "The Spy", which could be the theme song for any StalkerWithACrush.
49	* When Morrison was a very young child he once witnessed a car accident where several Native Americans were, according to him, shattered on the road. The image haunted him for his entire life and inspired many of his most chilling songs, including "Peace Frog":
50	--> ''Indians scattered on dawn's highway bleeding, ghosts crowd the young child's fragile eggshell mind.''
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53	'''Music/LAWoman'''
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55	* "L'America" maintains the same ominous four chord progression throughout. It sounds out of place on what is otherwise a very bluesy record, but not in a bad way; even so, it still has a rather dark tone.
56	* The beginning of the title track. It sounds as if a car is driving along a desert highway, but with strange slide guitar licks thrown in for good measure.
57	* "Riders on the Storm":
58	--> ''Into this life we're born / into this world we're thrown / like a dog without a bone, an actor out on loan (...) there's a killer on the road / his brain is squirming like a toad (...) take a long holiday, let your children play / if you give this man a ride, sweet family will die''
59	** If you listen carefully, you'll notice a quietly mixed whispered backing vocal throughout the song that is [[SelfBackingVocalist also done by Jim]]. Every single line of the song is whispered in unison with the lead vocals. It really adds to the eerie mood.
60	** To add to the eerie atmosphere, this was supposedly the last song The Doors recorded when Jim Morrison was still in the band.
61	** Make of it what you will, but this song was said to be a huge precursor to GothRock. Among other things, Jim's silky, smooth baritone and whispered vocals can be easily switched in one's mind from a [[TheSandman Sandman]]-like solo to [[Franchise/CthulhuMythos some unheard-of echolocation a la Dhole]] (or what have you).
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Context NightmareFuel / TheDoors