You're lost, little girl
You're lost, little girl
You're lost
Tell me who you are

Think that you know what to do
Impossible yes
But it's true

I think that you know what to do
Yeah
Sure that you know what to do

You're lost, little girl
You're lost, little girl
You're lost
Tell me who you are

Think that you know what to do
Impossible yes
But it's true

I think that you know what to do
Girl
Sure that you know what to do

You're lost, little girl
You're lost, little girl
You're lost


Few would have believed that, at the time, the Doors half seriously pondered whether no less a crooner than Frank Sinatra might deign to cover You're Lost Little Girl. The tough and tender melody seemed to make it a perfect vehicle for Ol' Blue Eyes. John Densmore thought it would have made a great serenade to his waifish wife, Mia Farrow.

Producer Paul Rothchild was concerned that Jim not push the vocal too hard, and that, for the track to work, Jim had to sound completely relaxed. Jokingly, he suggested hiring a prostitute to join Jim in the vocal booth.

Pamela Courson overheard the suggestion and objected strenuously - such work was her responsibility. She joined Jim in the vocal booth, lights were dimmed and tape began to roll. Jim began to sing, but then stopped. All that could be heard in the control room was some rustling from the booth, the mics were switched off and they were left alone for awhile.

A later take made it onto the album - apparently without involving any unzipping at all. It had just the right sound - the kind of serene "afterglow" Rothchild was looking for.

In fact, no matter what Jim Morrison did in the studio, and no matter what the Doors did around him, the singer's sex appeal always made its way through to those fans who were smitten with him as America's finest heart-throb. Already he was growing tired of that type of celebrity, but he couldn't get away from it.

"I've often wondered if Morrison was just too good-looking for his own good," says Chris Darrow of Kaleidoscope. "Nobody else at the time had that kind of sex appeal, and that brought a whole different kind of attention. Look at Buffalo Springfield, The Byrds, Iron Butterfly, or the band I was in. We were just regular guys up on stage playing in bands. Nothing special to look at. We knew the Doors were making some interesting music too, but I have to say that there really was some resentment among us musicians over Jim's looks."



Copyright 2003 by The Doors, Chuck Crisafulli/Waiting-forthe-Sun.net