ptabBreak On Through the Doors The Doors® The Doors The Doors)1966, 1971, 1988, 1990 by Doors Music Co.ÿ©You know the day destroys the night, Night divides the day, Tried to run, Tried to hide Break on through to the other side, Break on through to the other side, Break on through to the other side, yeah, We chased our pleasures here, Dug our treasures there, But can you still recall time we cried? Break on through to the other side, Break on through to the other side. Everybody loves my baby. She get! She get! She get! She get! yeah. I found an island in your arms, Country in your eyes, Arms that chain, Eyes that lie. Break on through to the other side, Break on through to the other side, Break on through, oh! Oh yeah! Made the scene, week to week, Day to day, hour to hour, Gate is straight, Deep and wide. Break on through to the other side, Break on through to the other side, Break on through, Break on through Break on through, Break on through Heh, heh, eh, eh, eh, eh, eh, eh, eh.ÿThis early Doors classic aptly illustrates the r&b, blues, soul and Middle Eastern influences on the band most representative of the adventurism and ambitiousness of 60's rock. Robbie Krieger's intro and verse lick is based on E Pentatonic minor (E, G, A, B, D), played in II position. This lick is sort of the opposite shape of Ray Manzarek's root-fifth keyboard figure, E to B (above), D to A (above), which functions as the song's bass line. The chorus keyboard-bass figure is low E-B-D-E (above), the same lick as Ray Charles' "What'd I Say." The chorus guitar figure is based on the E Blues scale (E,G,A,Bb,B,D), featuring the use of hammer-ons and pull-offs to create a legato sound. As the song progresses, Robbie elaborates slightly on the main lick, moving an E7#9 chordal rhythm pattern four bars before the fourth verse (at 1:53). Robbie ends the song with a bizarre unison-bend-plus-the-minor-third lick on the top three strings, purposely overbending to create dissonance. This use of dissonance is a Krieger trademark, also heard to great effect on "People Are Strange." Robbie achieved his unique sound with the use of Gibson SGs, both Standards and Specials, played through Fender Twin Reverbs. 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