| Es el final, mi único amigo, el final El final de nuestros elaborados planes El final de todo aquello que permanece en pie El final Sin seguridad o sorpresa El final Nunca más volveré a mirar en tus ojos, otra vez -padre -¿sí, hijo? -quiero matarte -Madre, quiero cogerte Ven cariño, date una oportunidad con nosotros Y conóceme al final del autobús azul Haciéndole a un alucinógeno en un autobus azul Matar, matar, matar, matar, matar, matar Este es el final, hermoso amigo Es el final, mi único amigo El final |
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Jim Morrison escribió originalmente The Endcomo una canción acerca del rompimiento de su relación con su novia Mary Werbelow y se fue desarrollanto durante los meses que The Doors actuaron en el Whisky a Go Go de Los Angeles siendo una obra de cerca de 12 minutos de duración que la banda solía ejecutar para cerrar sus presentaciones en vivo y que fue grabada a la primera toma. |
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| Título: | The End | |
| Traducción: | El final | |
| Compositor: | Jim Morrison, Ray Manzarek, Robbie Kriger, John Densmore | |
| Intérprete: | The Doors | |
| Productor: | The Doors, Paul A. Rothchild | |
| A la venta: | 04/01/1967 | |
| Formato: | L.P. | |
| Incluída en el L.P. | The Doors | |
| Disquera: | Elektra | |
| Orden al bat: | 041 | |
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The End
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El final
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This is the end, beautiful friend This is the end, my only friend The end of our elaborate plans The end of everything that stands The end No safety or surprise The end I'll never look into your eyes again Can you picture what will be So limitless and free Desperately in need of some stranger's hand In a desperate land Lost in a Roman wilderness of pain And all the children are insane All the children are insane Waiting for the summer rain There's danger on the edge of town Ride the King's highway Weird scenes inside the gold mine Ride the highway West, baby Ride the snake Ride the snake To the lake To the lake The ancient lake, baby The snake is long Seven miles Ride the snake He's old And his skin is cold The West is the best The West is the best Get here and we'll do the rest The blue bus is calling us The blue bus is calling us Driver, where are you taking us? The killer awoke before dawn He put his boots on He took a face from the ancient gallery And he walked on down the hall He went into the room where his sister lived And then he paid a visit to his brother And then he walked on down the hall And he came to a door And he looked inside Father Yes son? I want to kill you Mother, I want to. . . C'mon baby, take a chance with us C'mon baby, take a chance with us C'mon baby, take a chance with us And meet me at the back of the blue bus Doin' a blue rock on a blue bus Doin' a blue rock C'mon, yeah Kill, kill, kill, kill, kill, kill This is the end, beautiful friend This is the end, my only friend The end It hurts to set you free But you'll never follow me The end of laughter and soft lies The end of nights we tried to die This is the end |
Este es el final, hermoso amigo Es el final, mi único amigo, el final El final de nuestros elaborados planes El final de todo aquello que permanece en pie El final Sin seguridad o sorpresa El final Nunca más volveré a mirar en tus ojos, otra vez ¿Puedes imaginarte como será? Sin límites y libre Necesariamente desesperado por la mano de una extraña En una tierra desesperada Perdido en un paraje romano de dolor Y todos los niños están locos Esperando la lluvia del verano Hay peligro al filo de la ciudad Cabalga la autopista de los reyes Extrañas escenas dentro de la mina de oro Cabalga la autopista hacia el oeste, cariño. Cabalga sobre la serpiente Cabalga sobre la serpiente Hacia el lago Hacia el lago El viejo lago, cariño La serpiente es larga Siete millas Cabalga la serpiente Es vieja Y su piel está fría El oeste es lo mejor el oeste es lo mejor Ven hacia acá, y nos encargaremos del resto El autobús azul nos llama El autobús azul nos llama -Conductor, ¿a dónde nos lleva? El asesino se levantó antes del amanecer Se puso sus botas Tomó una foto de la vieja galería Y caminó cruzando el pasillo Entró en la habitación donde vivía su hermana Y luego visitó a su hermano Y luego caminó por el pasillo Llego a una puerta Y miró dentro -padre -¿sí, hijo? -quiero matarte -Madre, quiero cogerte Ven cariño, date una oportunidad con nosotros Ven cariño, date una oportunidad con nosotros Ven cariño, date una oportunidad con nosotros Y conóceme al final del autobús azul Haciéndole a un alucinógeno en un autobus azul Haciéndole a un alucinógeno, vamos, yeah Matar, matar, matar, matar, matar, matar Este es el final, hermoso amigo Es el final, mi único amigo El final Duele dejarte libre Pero nunca me seguirás El final de la risa y de las pequeñas mentiras El final de las noches en las que intentamos morir Este es el final |
Robby Krieger's slinky, haunting guitar lines over D drone in DADGBD (double dropped D) tuning using a harmonic minor scale recall Indian drone and raga-based music, as has often been noted, and the rolling and dramatic crescendoes of John Densmore's drums recall Indian tabla rhythms. The music as a whole, though, does not sound entirely or even particularly "Indian". The sharp, ringing edge of the guitar recalls the 50s to provide an inconspicuous bass line (I-V-I-V-I-V…) and fills. One may find a strong similarity to Chopin's "Funeral March" theme and also to Sandy Bull's guitar instrumental "Blend" - but this may be more to do with the quality of the melodic minor scale than with any conscious influence. The song begins in common time (4/4), and starts alternating with the unusual meter of 6/4, right before Morrison sings the line "…of our elaborate plans, the end…", until he sings "I'll never look into your eyes…again", when it returns to 4/4, and stays in that meter for the remainder of the song. Structurally, the song crescendos to three separate mini-climaxes separated by slower sections of half-spoken, half-sung lyrics before building to an enormous psychedelic climax right after Jim Morrison sings the "meet me at the back of the blue bus" verse. Previously, the song had been weaving along on its melodies to an encounter with the ruling powers of the mind. The sexual representation seems more likely given the similar crescendo apex very much along the lines of Ravel's 'Bolero". Afterward, "The End" departs on a wistful note when Morrison sings, "It hurts to set you free, but you'll never follow me. The end of laughter and soft lies, the end of nights we tried to die." In the context of Morrison's first interpretation quoted above, this lyric and the associated music that softly reiterates themes from the opening may mean that the comfort of childhood will be sacrificed for freedom. In 1969, Morrison stated: “Everytime I hear that song, it means something else to me. It started out as a simple good-bye song probably just to a girl, but I see how it could be a goodbye to a kind of childhood. I really don't know. I think it's sufficiently complex and universal in its imagery that it could be almost anything you want it to be." Shortly past the mid-point of the nearly 12-minute long album version, the song suddenly enters a spoken-word section with the words, "The killer awoke before dawn… " That section of the song reaches a dramatic climax with the lines, "Father/ Yes son?/ I want to kill you/ Mother, I want to… (fuck you)," (with the last two words screamed out unintelligibly).[citation needed] This is often considered a reference to the Oedipus complex. Ray Manzarek, the former keyboard player for the Doors explained: "He was giving voice in a rock 'n' roll setting to the Oedipus complex, at the time a widely discussed tendency in Freudian psychology. He wasn't saying he wanted to do that to his own mom and dad. He was re-enacting a bit of Greek drama. It was theatre!" Producer Paul Rothchild said in an interview that he believed the song to be an inside trip, and that "kill the father" means destroying everything hierarchical, controlling, and restrictive in one's psyche, while "fuck the mother" means embracing everything that is expansive, flowing, and alive in the psyche. |
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Ray Manzarek — teclados, coros y bajo Robby Krieger — guitarra y armonica John Densmore — batería y percusión |
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The Doors: Los Angeles
The Doors se diferenciaba de muchos grupos de rock de la época, porque no usaban un bajo en concierto, enfatizando tambien el hecho de haber sido influenciados por diferentes grupos de rock y de blues de la epoca. En vez de esto, Ray Manzarek tocaba las melodías del bajo con la mano izquierda en su Fender Rhodes, y las melodías del órgano con la mano derecha. Sin embargo, el grupo usó algunos bajistas en sus grabaciones de estudio. |
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LADO A 1. "Break on Through (To the Other Side)" 2. "Soul Kitchen" 3. "The Crystal Ship" 4. "Twentieth Century Fox" 5. "Alabama Song (Whisky Bar)" (Brecht, Weill) 6. "Light My Fire" |
LADO B 1. "Back Door Man" (Dixon) 2. "I Looked At You" 3. "End Of The Night" 4. "Take It As It Comes" 5. "The End" |
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The Doors contiene el drama musical, The End. La canción Break on Through (To the Other Side) fue censurada de su línea original, She Gets High por un simple She Gets, igual con The End, a la cual le fue censurada en la parte final, un momento donde Jim Morrison cantaba Fuck, Fuck. Ambas canciones volvieron a sus versiones originales sin censura en el álbum Legacy: the Absolute Best. |
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