I have been rather puzzled by the fact that I could have such a high regard for Strange Days, and not consider it my “favorite” Doors album. Late one recent evening I put everything else aside, and gave (the remastered version) a good, undisturbed listen - something I rarely find time to do at this juncture. I was astounded by the virtuosity displayed, both in conception and execution of this ground-breaking work. And I had a startling realization, that Strange Days is not my favorite Doors album simply because I do not HAVE a favorite Doors album. Sometimes the simplest things can be the most difficult to see! This album is to me, the perfect example of a synergistic realization. Everyone involved was working at the peak of their abilities, and the whole is even greater than the sum of its parts. Every moment each had experienced in life led up to the making of this masterpiece. (And of course, this is true of everything, but this album stands as a shining example in my mind.) I think it is absolutely clear that Jim gave everything he had in each moment of his life. If other Doors albums appear to be lacking in some way, I beleive it is because his creative process was impeded by various trials (sometimes literally!) in his life. But Strange Days came about in a golden moment for this group of collaborators. It had everything going for it. It benefitted from the advantage of the remaining work from the Venice notebooks, as well as the fact that the Doors were now familiar with the Studio. Learning to use the recording studio can be compared to learning the technical requirements of an instrument. And they had clearly mastered the technique. This album is a testament to Rothchild's talents as a producer, Bruce Botnick's talents as an engineer, and the arranging talents of the Doors. The production is stunning - The recording quality exceeds 99% of the albums produced at the time, and the experimental techniques as well as the additional instrumentation added a depth to the arrangement which could not have been more eloquent, without ever interfering with its essence. One more use of backwards tracking would have been one too many, but the two applications are intriguing, adding the perfect percussive feel, as well as a surreal quality. The use of marimba on I Can't See Your Face In My Mind is absolutely delightful - rather like finding a little treasure in the most unexpected of places. The vocal effects on Strange Days could so easily have been overdone, but instead were perfect. And of course the last contributing factor is that the rock star experience hadn't yet come crashing down on Jim. Once it did, there was no turningback. Copyright 2003 by laciefae/Waiting-forthe-Sun.net