The End (The Doors song)

In a 1969 interview with Jerry Hopkins, Morrison said about the lyrics:

{{quote|[E]very time I hear that song, it means something else to me. I really don't know what I was trying to say. It just started out as a simple goodbye song{{nbsp}}... Probably just to a girl, but I could see how it could be 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.{{cite magazine |first=Jerry |last=Hopkins |author-link=Jerry Hopkins (author) |title=The Rolling Stone Interview: Jim Morrison |url=https://www.rollingstone.com/music/features/the-rolling-stone-interview-jim-morrison-19690726 |magazine=Rolling Stone |publisher=Wenner Media |location=New York City |date=July 26, 1969 |access-date=April 20, 2018 |archive-url=https://web.archive.org/web/20180421031257/https://www.rollingstone.com/music/features/the-rolling-stone-interview-jim-morrison-19690726 |archive-date=April 21, 2018 |url-status=live }}}}

File:Doors electra publicity photo.JPG

When interviewed by Lizze James, he pointed out the meaning of the verse "My only friend, the End":

{{quote|Sometimes the pain is too much to examine, or even tolerate{{nbsp}}... That doesn't make it evil, though{{snd}}or necessarily dangerous. But people fear death even more than pain. It's strange that they fear death. Life hurts a lot more than death. At the point of death, the pain is over. Yeah{{snd}}I guess it is a friend.{{cite magazine |first=Lizze| last=James| date=1981 |url=http://archives.waiting-forthe-sun.net/Pages/Interviews/JimInterviews/TenYearsGone.html |title=Jim Morrison: Ten Years Gone |magazine=Creem Magazine |location=Detroit, Michigan |access-date=November 8, 2012}}}}

Shortly past the midpoint of the nearly 12-minute-long album version, the song enters a spoken word section with the words, "The killer awoke before dawn / he put his boots on". That section of the song reaches a dramatic climax with the lines, "Father / Yes son? / I want to kill you / Mother, I want to{{nbsp}}..." (with the next words screamed out unintelligibly).{{Gilliland|url=https://digital.library.unt.edu/ark:/67531/metadc19802/m1/ |title=Show 43 - Revolt of the Fat Angel: Some samples of the Los Angeles sound [Part 3]}} Morrison had worked on a student production of Oedipus Rex at Florida State University.{{cite web |url=https://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-time-20110407/the-doors-the-end-20110526 |title=500 Greatest Songs of All Time, No. 336 The Doors: The End |author=Staff |magazine=Rolling Stone |publisher=Wenner Media |location=New York City |date=April 7, 2011 |access-date=April 20, 2018 |archive-url=https://web.archive.org/web/20180421031619/https://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-time-20110407/the-doors-the-end-20110526 |archive-date=April 21, 2018 |url-status=live }} Ray Manzarek, the former keyboard player of the Doors, explained:

{{quote|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!{{cite book |first=Ben |last=Fong-Torres |author-link=Ben Fong-Torres |title=The Doors |url=https://books.google.com/books?id=K3sIAQAAMAAJ |year=2006 |publisher=Hyperion |location=New York City |page=[https://books.google.com/books?id=K3sIAQAAMAAJ&q=%22He+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+reenacting+a+bit+of+Greek+drama.+It+was+theatre!%22 61] |isbn=1-40130303-X}}}}

When asked whether the lyrics of the Oedipal section actually resonated with his own parents, Morrison defensively replied, "I don't want to talk about it. I don't want to involve anyone unless they want it." On the other hand, Doors' guitarist Robby Krieger believed that Morrison indeed suffered "from an apparent Oedipus complex".{{cite web |first=Martin |last=Kielty |date=December 3, 2021 |url=https://ultimateclassicrock.com/jim-morrison-syphilis-insanity/ |title=Robby Krieger Says Jim Morrison Wanted to Experience Insanity |work=Ultimate Classic Rock |access-date=August 14, 2022}} However, in John Densmore's autobiography Riders on the Storm, he recalls when Morrison explained the literal meaning of the song:

{{quote|At one point Jim said to me during the recording session, and he was tearful, and he shouted in the studio, 'Does anybody understand me?' And I said yes, I do, and right then and there we got into a long discussion and Jim just kept saying over and over kill the father, fuck the mother, and essentially boils down to this, kill all those things in yourself which are instilled in you and are not of yourself, they are alien concepts which are not yours, they must die. Fuck the mother is very basic, and it means get back to essence, what is reality, what is, fuck the mother is very basically mother, mother-birth, real, you can touch it, it's nature, it can't lie to you. So what Jim says at the end of the Oedipus section, which is essentially the same thing that the classic says, kill the alien concepts, get back reality, the end of alien concepts, the beginning of personal concepts.{{cite book |first=John |last=Densmore|author-link=John Densmore|title=Riders on the Storm. My Life with Jim Morrison and the Doors |url=https://books.google.com/books?id=1f0vAQAAIAAJ |year=1990 |publisher=Delacorte Press |location=New York City |page=[https://books.google.com/books?id=1f0vAQAAIAAJ&q=%22At+one+point+Jim+said+to+me+during+the+recording+session,+and+he+was+tearful,+and+he+shouted+in+the+studio,%22%22Does+anybody+understand+me?%22%22And+I+said+yes,+I+do,+and+right+then+and+there+we+got+into+a+long+discussion+and+Jim+just+kept+saying+over+and+over+kill+the+father,+fuck+the+mother,+and+essentially+boils+down+to+this,+kill+all+those+things+in+yourself+which+are+instilled+in+you+and+are+not+of+yourself,+they+are+alien+concepts+which+are+not+yours,+they+must+die.+Fuck+the+mother+is+very+basic,+and+it+means+get+back+to+essence,+what+is+reality,+what+is,+fuck+the+mother+is+very+basically+mother,+mother-birth,+real,+you+can+touch+it,+it's+nature,+it+can't+lie+to+you.+So+what+Jim+says+at+the+end+of+the+Oedipus+section,+which+is+essentially+the+same+thing+that+the+classic+says,+kill+the+alien+concepts,+get+back+reality,+the+end+of+alien+concepts,+the+beginning+of+personal+concepts.%22 88] |isbn=0-38530033-6}}}}

According to Mojo magazine, during the recording sessions, Morrison was obsessed and skeptical of the words, "Fuck the mother, kill the father", as Krieger recalled, "He was on this Oedipus complex trip."{{cite book |year=2004 |first=Stephen |last=Davis |author-link=Stephen Davis (music journalist) |title=Jim Morrison: Life, Death, Legend |url=https://books.google.com/books?id=GrAXVNmSR4QC&pg=PA142 |publisher=Penguin Books |isbn=1-59240-064-7 |page=142}} Then he accidentally threw a TV, which was brought in by sound engineer Bruce Botnick, at the control room window. After the incident, he was sent home by producer Paul A. Rothchild. However, Morrison, who had taken LSD, returned in the middle of the night, broke into the studio and hosed it with a fire extinguisher.{{cite magazine |first=Jordan |last=Runtagh |date=January 4, 2017 |url=https://www.rollingstone.com/music/music-features/doors-debut-album-10-things-you-didnt-know-115997/ |title=The Doors' Debut Album: Things You Didn't Know |magazine=Rolling Stone |access-date=December 4, 2021}} The extinguishing agent marked only the instruments that were mounted in the recording place.{{cite AV media |people=The Doors |title=Classic Albums: The Doors [Extras] |year=2008 |publisher=Eagle Rock Entertainment}} Rothchild came back and advised the studio owner to charge the damage to Elektra.

The genesis and the use of the word "fuck" is described by Michael Hicks as follows:

{{quote|During this period, Morrison brought vocal ideas into the instrumental solo section. Between the organ and guitar solos he approached the microphone and intoned two brief lines from the middle of the song "When the Music's Over": "Persian night, babe / See the light, babe." More strikingly, when the retransition motive began, he held the microphone against his mouth and screamed the word "fuck" repeatedly, in rhythm, for three measures or more (the barking sound that one hears during this passage on most live recordings). This was probably not a spontaneous vulgarism, but rather, a kind of quotation from another Doors song, "The End." Paul Rothchild explains that in the Oedipal section of the studio recording of "The End," Morrison shouted the word "fuck" over and over "as a rhythm instrument, which is what we intended it to be." That "rhythm instrument" was buried in the studio mix of "The End." Now, forcefully superimposed on "Light My Fire", it shocked many a fan who had come to hear the group's most famous song.{{cite book |last=Hicks |first=Michael |author-link=Michael Hicks (musicologist)|url=https://books.google.com/books?id=JviHtOrIlkkC |title=Sixties Rock. Garage, Psychedelic, and Other Satisfactions |year=2000 |orig-year=1999 |publisher=University of Illinois Press |location=Champaign, Illinois |pages=[https://books.google.com/books?id=JviHtOrIlkkC&pg=PA87 87–88] |isbn=0-25206915-3}}}}

The Pop Chronicles documentary reports that critics found the song "Sophoclean and Joycean."

"The End" was recorded live in the studio with no overdubbing.{{cite AV media |url=http://www.jambands.com/reviews/dvds/2008/06/20/classic-albums-the-doors |archive-url=https://web.archive.org/web/20170112080411/http://www.jambands.com/reviews/dvds/2008/06/20/classic-albums-the-doors |url-status=dead |archive-date=January 12, 2017 |title=Classic Albums: The Doors |date=April 14, 2008 |publisher=Classic Albums}} Two takes were recorded, with reportedly the second being used for the album.{{cite book |author=Various Mojo Magazine |author-link=Mojo (magazine) |editor1-last=Irvin |editor1-first=Jim |editor1-link=Jim Irvin |editor2-last=Alexander |editor2-first=Phil |url=https://books.google.com/books?id=-Q45AQAAIAAJ |title=The Mojo Collection. The Ultimate Music Companion; Brought to You by the Makers of Mojo Magazine |year=2007 |edition=4 |publisher=Canongate Books |location=Edinburgh, Scotland |page=75 |isbn=978-1-84767643-6}} It was one of the last songs performed by the original group at their last concert on December 12, 1970, at The Warehouse in New Orleans.

"The End" has been characterized as a precursor of the gothic rock genre. In a live review published in The Williams Record in October 1967, critic John Stickney described the Doors' music as "gothic rock", which was one of the first uses of the term in print.{{cite web

|first=Josh |last=Hammer

|url=https://www.vice.com/amp/en/article/vdyj43/barbarian-void-of-refinement-a-complete-history-of-goth |title=Barbarian, Void of Refinement: A Complete History of Goth |work=Vice Media |date=October 31, 2012

|access-date=May 14, 2021}} In 2017, Pitchfork included it on their list of "The Story of Goth in 33 Songs".{{cite web |date=October 25, 2017 |title=The Story of Goth in 33 Songs |url=https://pitchfork.com/features/lists-and-guides/the-story-of-goth-in-33-songs |website=Pitchfork |access-date=March 30, 2021}} In his column, Rusty Pipes described the track as one of the early examples of art rock music.{{cite web |last=Pipes |first=Rusty |url=http://www.cosmik.com/aa-january02/golden_age4.html |title=Cosmik Debris Magazine Presents: Part 4 of The Golden Age of Art Rock |website=Cosmik.com |date=January 2002 |access-date=March 31, 2021 |archive-url=https://web.archive.org/web/20160311144734/http://cosmik.com/aa-january02/golden_age4.html |archive-date=March 11, 2016}} Sean Murphy of PopMatters considered it one of the 1967 songs that shaped prog rock.{{cite magazine |first=Sean |last=Murphy |date=March 20, 2013 |title=Ten Songs from 1967 That Shaped Prog Rock |url=https://www.popmatters.com/169130-ten-songs-from-1967-that-shaped-prog-rock-2495772778.html |magazine=PopMatters |access-date=April 20, 2023}} Additionally, in their book Pop Goes the Decade: The Sixties, Aaron Barlow and Martin Kich said the song had influenced most of the acid rock genre.{{cite book |last1=Barlow |first1=Aaron |author-link1=Aaron Barlow |url=https://books.google.com/books?id=pHjEDwAAQBAJ&pg=PA60 |title=Pop Goes the Decade: The Sixties |last2=Kich |first2=Martin |publisher=ABC-CLIO |year=2020 |isbn=978-1440862847 |page=60}}

The track has also been classified as a psychedelic rock and hard rock piece.{{cite magazine |last=Horowitz |first=Steve |date=October 9, 2020 |title=The Doors Check Into the Morrison Hotel |url=https://www.popmatters.com/doors-morrison-hotel-review-2647906236.html |access-date=May 1, 2021 |magazine=PopMatters}} Em Casalena of American Songwriter credited the track as one of the songs that signified the birth of the former genre, saying "the [musical] talents of the band, coupled with Morrison’s irresistible charisma, turned this extra-long track into a dark, almost sinister anthem that contrasted the hippie-love energy of popular music at the time."{{Cite web |last=Casalena |first=Em |date=2024-10-11 |title=4 Songs That Marked the Birth of Psychedelic Rock |url=https://americansongwriter.com/4-songs-that-marked-the-birth-of-psychedelic-rock/ |access-date=2025-02-11 |website=American Songwriter |language=en-US}}

"The End" employs the Mixolydian mode in the key of D,{{cite book |first=Mark |last=Spicer |date=December 21, 2011 |title=Rock Music |url=https://books.google.com/books?id=gD8rDwAAQBAJ&pg=PA229 |page=229 |publisher=Rutledge |isbn=978-0754629566}} and incorporates aspects from Indian music. Krieger used an open guitar tuning, which he had learned from Ravi Shankar's music lessons at the Kinnara School of Music in Los Angeles,{{cite book |url=https://books.google.com/books?id=HjPcWkEPSR8C&pg=PT195 |title=The Doors FAQ: All That's Left to Know About the Kings of Acid Rock |last=Weidman |first=Richie |date=October 1, 2011 |publisher=Backbeat Books |isbn=978-1617131103 |page=195}}{{cite web |url=http://cavehollywood.com/ravi-shankar-a-life-in-music-exhibit-at-the-grammy-museum-may-2015-spring-2016/ |first=Harvey |last=Kubernik |title=Ravi Shankar: A Life In Music Exhibit at the Grammy Museum May 2015–Spring 2016 |website=Cave Hollywood |date=June 16, 2015 |access-date=February 1, 2019}} to create a sitar or veena sound; this enhances the raga rock mood. In his book, The Dawn of Indian Music, author Peter Lavezzoli writes that Krieger also developed with his tuning an "Indian jhala style" by rapidly strumming and alternating with the melody line.{{cite book |last=Lavezzoli |first=Peter |title=The Dawn of Indian Music in the West |publisher=Continuum |location=New York City |year=2006 |isbn=0-8264-2819-3 |pages=158–59}}

While the 1967 release of the song is the best-known version, there are other, slightly different versions available.

• A significantly shorter edit, sometimes erroneously referred to as a "single version", was released on the CD version of the Greatest Hits album. The edited version is almost half the length of the original.
• The version used in Francis Ford Coppola's film Apocalypse Now is different from the 1967 release, being a remix specifically made for the movie.{{cite book

|last=Weidman |first=Richie

|date=October 2011 |title=The Doors FAQ: All That's Left to Know About the Kings of Acid Rock

|url=https://books.google.com/books?id=HjPcWkEPSR8C&pg=PT421–422 |publisher=Rowman & Littlefield |pages=421–422 |isbn=978-1617131141}} The remixed version emphasizes the vocal track at the final crescendo, highlighting Morrison's liberal use of scat and expletives. The vocal track can partly be heard in the 1967 release, although the expletives are effectively buried in the mix (and the scat-singing only faintly audible), and Morrison can only be heard clearly at the end of the crescendo with his repeated line of "Kill! Kill!". This version originated with the original master copy from Elektra's tape vaults; when Walter Murch, the film's sound designer, requested copies of the song from Elektra Records for use in the film, the studio unknowingly sent him the original master tracks to use, which explains the different sonic quality of the song used in the film.

• A new 5.1 mix was issued with the 2006 box set Perception. The new 5.1 mix has more sonic details than the original 1967 mix.
• While it is officially recognized that the 1967 version is an edit consisting of two different takes recorded on two straight days{{cite web |url=http://archives.waiting-forthe-sun.net/Pages/Legacy/Albums/TheDoors/RecordingTheDoors.html |title=Making of The Doors: The Recording Sessions |work=Waiting for the Sun Archives |access-date=July 3, 2012 |archive-url=https://web.archive.org/web/20120215233508/http://archives.waiting-forthe-sun.net/Pages/Legacy/Albums/TheDoors/RecordingTheDoors.html |archive-date=February 15, 2012 |url-status=live }}—the splice being right before the line "The killer awoke before dawn", and easily pinpointed by cut cymbals—the full takes, or the edited parts, have yet to surface.

• March 1967 (13:54), released on Live at the Matrix{{cite web |title=The Doors: Live at the Matrix 1967 |url=https://www.thedoors.com/discography/live-matrix-1967-3225 |access-date=April 20, 2018 |url-status=dead |archive-url=https://web.archive.org/web/20150906205809/https://www.thedoors.com/discography/live-matrix-1967-3225 |archive-date=September 6, 2015 |website=thedoors.com}}
• July 5, 1968, Hollywood Bowl (15:42), released on In Concert{{cite web |title=The Doors: Live at the Bowl '68 |url=https://www.thedoors.com/discography/live-bowl-68-3247 |access-date=April 20, 2018 |url-status=dead |archive-url=https://web.archive.org/web/20150906195253/https://www.thedoors.com/discography/live-bowl-68-3247 |archive-date=September 6, 2015 |website=thedoors.com}}
• January 17, 1970, New York City, Show 2 (17:46), released on Live in New York{{cite web |title=The Doors: Live in New York |url=https://www.thedoors.com/discography/live-new-york-1900 |access-date=April 20, 2018 |url-status=dead |archive-url=https://web.archive.org/web/20150906205008/https://www.thedoors.com/discography/live-new-york-1900 |archive-date=September 6, 2015 |website=thedoors.com}}
• May 8, 1970, Cobo Arena, Detroit (17:35), released on Live in Detroit{{cite web |first=Lindsay |last=Planer |url=https://www.allmusic.com/album/live-in-detroit-cobo-hall-05-08-1970-mw0000418168 |title=The Doors: Live in Detroit |work=AllMusic |access-date=August 2, 2022}}
• June 6, 1970, Pacific Coliseum, Vancouver, Canada (17:58), released on Live in Vancouver 1970{{cite web |title=The Doors: Live in Vancouver |url=https://www.thedoors.com/discography/live-vancouver-1137 |access-date=April 20, 2018 |url-status=dead |archive-url=https://web.archive.org/web/20150906200835/https://www.thedoors.com/discography/live-vancouver-1137 |archive-date=September 6, 2015 |website=thedoors.com}}

• In the version recorded live in Madison Square Garden on January 17, 1970, the lyric "Woman{{nbsp}}... I wanna{{nbsp}}... fuck you mama all night long!" can be heard clearly, instead of the unintelligible screaming of the studio version.{{cite book |first=Gillian |last=G. Gaar |year=2015 |title=The Doors: The Illustrated History |url=https://books.google.com/books?id=Xu76CwAAQBAJ&pg=PA97 |publisher=Voyageur Press |page=97 |isbn=978-1627887052}}

{{Certification Table Top}}

{{Certification Table Entry|region=United States|type=single|artist=Doors|title=The End|award=Gold|relyear=1967|certyear=2024|access-date=November 21, 2024}}

{{Certification Table Bottom|nosales=true|noshipments=true|streaming=true}}

• Jim Morrison – vocals
• Ray Manzarek – Vox Continental organ, Fender Rhodes piano bass{{cite book |first=Heinz |last=Gerstenmeyer |title=The Doors – Sounds for Your Soul – Die Musik Der Doors

|url=https://books.google.com/books?id=8xk_-cOcPH4C&pg=PA11 |year=2001 |isbn=978-3-8311-2057-4 |page=11 |publisher=BoD – Books on Demand |language=de}}

• Robby Krieger – guitar
• John Densmore – drums, tambourine

{{Infobox song

| name = The End

| cover = File:Marilyn_Manson_-_The_End.jpg

| alt =

| type = single

| artist = Marilyn Manson

| album =

| released = November 22, 2019{{cite web |url=https://consequenceofsound.net/2019/11/marilyn-manson-the-doors-the-end/ |title=Stream Marilyn Manson - "The End" (The Doors Cover) |last=Kaufman |first=Spencer |work=Consequence of Sound |date=November 22, 2019 |access-date=July 8, 2020 |archive-url=https://web.archive.org/web/20200615115558/https://consequenceofsound.net/2019/11/marilyn-manson-the-doors-the-end/ |archive-date=June 15, 2020 |url-status=live}}

| recorded =

| studio =

| venue =

| genre =

| length = 8:29

| label = Loma Vista{{cite web |url=https://ultimateclassicrock.com/marilyn-manson-doors-the-end/ |title=Listen to Marilyn Manson's Cover of the Doors' 'The End' |author=Lifton, Dave |work=Ultimate Classic Rock |publisher=Townsquare Media |date=November 22, 2019 |access-date=July 8, 2020 |archive-url=https://web.archive.org/web/20200626231310/https://ultimateclassicrock.com/marilyn-manson-doors-the-end/ |archive-date=June 26, 2020 |url-status=live}}

| writer =

• Morrison
• Manzarek
• Krieger
• Densmore

| producer = Shooter Jennings{{cite magazine |url=https://www.rollingstone.com/music/music-news/marilyn-manson-the-doors-the-end-916407/ |title=Marilyn Manson Covers the Doors for Stephen King's 'The Stand' |last=Grow |first=Kory |magazine=Rolling Stone |date=November 22, 2019 |access-date=July 8, 2020 |issn=0035-791X |archive-url=https://web.archive.org/web/20200701214605/https://www.rollingstone.com/music/music-news/marilyn-manson-the-doors-the-end-916407/ |archive-date=July 1, 2020 |url-status=live}}

| prev_title = God's Gonna Cut You Down

| prev_year = 2019

| next_title = We Are Chaos

| next_year = 2020

| misc =

}}

Marilyn Manson recorded a cover of "The End" for use on the soundtrack to the miniseries The Stand.{{cite web |url=https://www.nme.com/news/tv/marilyn-manson-cast-in-stephen-king-the-stand-tv-series-2525960 |title=Marilyn Manson has been cast in TV version of Stephen King's 'The Stand' |author=Moore, Sam |work=NME |date=July 8, 2019 |access-date=July 8, 2020 |issn=0028-6362 |archive-url=https://web.archive.org/web/20191223080055/https://www.nme.com/news/tv/marilyn-manson-cast-in-stephen-king-the-stand-tv-series-2525960 |archive-date=December 23, 2019 |url-status=live}} The recording was produced by country musician Shooter Jennings, who also produced Manson's eleventh studio album, We Are Chaos.{{cite web |url=https://www.altpress.com/news/marilyn-manson-the-doors-cover-shooter-jennings-the-end/ |title=Marilyn Manson delivers the Doors cover of classic track 'The End'|author=Smith-Engelhardt, Joe |work=Alternative Press |date=November 22, 2019 |access-date=July 8, 2020 |issn=1065-1667 |archive-url=https://web.archive.org/web/20200628062302/https://www.altpress.com/news/marilyn-manson-the-doors-cover-shooter-jennings-the-end/ |archive-date=June 28, 2020 |url-status=live}} The song was released for digital download and streaming on November 22, 2019, with a 7-inch picture disc{{cite web |url=https://www.kerrang.com/the-news/listen-to-marilyn-mansons-new-cover-of-the-end/ |title=Listen To Marilyn Manson's New Cover Of The End |work=Kerrang! |date=November 22, 2019 |access-date=July 8, 2020 |issn=0262-6624 |archive-url=https://web.archive.org/web/20200625075330/https://www.kerrang.com/the-news/listen-to-marilyn-mansons-new-cover-of-the-end/ |archive-date=June 25, 2020 |url-status=live}} scheduled to be released via Loma Vista Recordings on March 6, 2020. The vinyl would have been limited to 2,000 copies worldwide,{{cite web |url=https://www.loudersound.com/news/marilyn-manson-covers-the-doors-classic-the-end |title=Marilyn Manson covers The Doors classic The End |author=Munro, Scott |work=Metal Hammer |publisher=Loudersound.com |date=November 22, 2019 |access-date=July 8, 2020 |issn=0955-1190 |archive-url=https://web.archive.org/web/20200626224347/https://www.loudersound.com/news/marilyn-manson-covers-the-doors-classic-the-end |archive-date=June 26, 2020 |url-status=live }} and all pre-orders were accompanied by an immediate download of the track. The vinyl artwork consisted of an original watercolor piece painted by the vocalist.{{cite web |url=https://www.nme.com/news/music/marilyn-manson-puts-the-doom-in-the-doors-the-end-song-cover-2577440 |title=Listen to Marilyn Manson's doomy cover of The Doors song The End |author=Krol, Charlotte |work=NME |date=November 22, 2019 |access-date=July 8, 2020 |issn=0028-6362 |archive-url=https://web.archive.org/web/20200626174805/https://www.nme.com/news/music/marilyn-manson-puts-the-doom-in-the-doors-the-end-song-cover-2577440 |archive-date=June 26, 2020 |url-status=live}}{{cite web |url=http://exclaim.ca/music/article/hear_marilyn_manson_cover_the_doors_the_end |title=Hear Marilyn Manson Cover the Doors' 'The End' |author=Thiessen, Brock |work=Exclaim! |date=November 22, 2019 |access-date=July 8, 2020 |issn=1207-6600 |archive-url=https://web.archive.org/web/20200625080143/http://exclaim.ca/music/article/hear_marilyn_manson_cover_the_doors_the_end |archive-date=June 25, 2020 |url-status=live}} A music video based on the single's artwork was created by Zev Deans, which utilized watercolor self-portraits created by Manson.{{cite web |url=https://www.revolvermag.com/music/hear-marilyn-mansons-southern-gothic-cover-doors-end |title=Hear Marilyn Manson's Southern Gothic Cover of the Doors' 'The End' |work=Revolver |date=November 22, 2019 |access-date=July 8, 2020 |issn=1527-408X |archive-url=https://web.archive.org/web/20200613003102/https://www.revolvermag.com/music/hear-marilyn-mansons-southern-gothic-cover-doors-end |archive-date=June 13, 2020 |url-status=live}}

The 7" vinyl release was canceled, however, and the song and its music video were removed from all download, streaming and video hosting services shortly after release.{{cite web |url=https://www.loudersound.com/features/12-songs-marilyn-manson-has-covered-that-you-probably-havent-heard |title=12 songs Marilyn Manson covered that you probably haven't heard |author=Cownley, Emma |work=Metal Hammer |publisher=Loudersound.com |date=February 11, 2020 |access-date=June 24, 2020 |issn=0955-1190 |archive-url=https://web.archive.org/web/20200316122003/https://www.loudersound.com/features/12-songs-marilyn-manson-has-covered-that-you-probably-havent-heard |archive-date=March 16, 2020 |url-status=live}} An interviewer with Guitar World later said the vinyl release was "nixed" by the Doors, with Jennings saying the band claimed the pair were "taking liberties" with its release.{{cite web |url=https://www.guitarworld.com/features/shooter-jennings-marilyn-mansons-miraculous-poetic-ability-doesnt-grow-cold-like-a-lot-of-peoples-songwriting|title=Shooter Jennings: "Marilyn Manson's miraculous poetic ability doesn't grow cold, like a lot of people's songwriting"|author=Horsley, Jonathan|work=Guitar World|date=September 23, 2020|access-date=November 25, 2020}} The Stand director Josh Boone also confirmed the cover would not appear in the miniseries, saying the recording "ultimately proved too expensive to use. The show was made on a very tight budget and some of the dreams we had went to the wayside."{{cite magazine |url=https://ew.com/tv/the-stand-marilyn-manson-rumor/|title=The Stand director Josh Boone clarifies that Marilyn Manson rumor|author=Hibberd, James|magazine=Entertainment Weekly|date=November 24, 2020|access-date=November 25, 2020}}

Manson had previously released a version of the Doors song "Five to One"{{cite web |url=https://www.nbcnews.com/pop-culture/pop-culture-news/marilyn-manson-sings-people-are-strange-doors-flna955059 |title=Marilyn Manson sings 'People Are Strange' with The Doors |author=Chan, Anna |work=NBC News |date=August 21, 2012 |access-date=July 5, 2020}} as a b-side on their 2000 single "Disposable Teens".{{cite web |url=https://www.nme.com/news/marilynmanson/4696 |title='Teens' Sensation |author=Bychawski, Adam |work=NME |date=October 10, 2000 |access-date=July 8, 2020 |archive-url=https://web.archive.org/web/20160304081512/http://www.nme.com/news/marilynmanson/4696 |archive-date=March 4, 2016 |url-status=dead |issn=0028-6362}} He later performed "Five to One" – as well as "Love Me Two Times" and "People Are Strange" – alongside Ray Manzarek and Robby Krieger at the 2012 Sunset Strip Music Festival. In 2016, he performed "Not to Touch the Earth" with guitarist Johnny Depp during an event at Amoeba Music.

{{Reflist}}

• {{cite web |url=http://www.allmusic.com/song/the-end-mt0039738617 |archive-url=https://web.archive.org/web/20130624043137/http://www.allmusic.com/song/the-end-mt0039738617 |url-status=dead |archive-date=June 24, 2013 |title=The End: review |last=Planer |first=Lindsay |publisher=AllMusic. All Media Network |access-date=June 24, 2013}}
• Usage in film and television: see [https://web.archive.org/web/20041026085831/http://imdb.com/name/nm1401980/ "The Doors - Soundtrack. 'The End'"]at IMDb
• [https://web.archive.org/web/20150906191059/https://www.thedoors.com/discography/songs/end-602 Song lyrics] at thedoors.com

{{The Doors}}

{{The Doors songs}}

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{{DEFAULTSORT:End (The Doors song)}}

Category:The Doors songs

Category:Raga rock songs

Category:Gothic rock songs

Category:Songs written by John Densmore

Category:Songs written by Robby Krieger

Category:Songs written by Ray Manzarek

Category:Songs written by Jim Morrison

Category:1967 songs

Category:Song recordings produced by Paul A. Rothchild

Category:Songs about death

Category:Marilyn Manson (band) songs

Category:Loma Vista Recordings singles