Chords for The Story of "The End" by The Doors
Tempo:
96.6 bpm
Chords used:
D
Dm
A
C
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The last selection on side two, the last of the album is called The End.
And this was all recorded live in the studio, no overdubs whatsoever.
And here we go.
[Db]
[Ab]
[D] Raise piano bass.
[Dm]
[D]
This is the [C] end, beautiful [D] friend.
This is the end, [C] my only [D] friend, the end.
This is the end.
[D] What's he talking about?
[C] Do people write about it?
Is he [G] writing about death?
Do people do that in a song?
That's nothing [Bb] like oh, blah, dee, oh, blah, dah.
What's going on?
The End actually started out as a love, no, not a love, well, a love song, a goodbye love song.
This is the end, beautiful friend.
And Jim sang it to us a cappella, and we kind of went whoa, okay, that's dark.
And the whole long 10-minute middle section of poetry and all that stuff kind of [B] evolved
playing live, and we had sections where he could put in whatever he wanted while we would [D] vamp.
At the Whiskey a Go-Go, Jim came up with this great part, and we'd never heard it before.
It's the first time he ever did this on stage.
Whiskey a Go-Go packed, and he had that aura about him that had just stopped the entire place.
Everything had gone into just frozen moment in time.
Nothing was going on except this, Dan Smores' drums and Robbie playing some sitar things,
and Morrison says, the killer awoke before dawn.
God, what is he going to do?
He put his boots on.
He took a face from the ancient gallery, and he walked on down the hallway, baby.
Came to a dawn.
He looked inside.
Father, yes, son, I want to kill you.
[G]
[D] Mother,
[Bb] I want [A] to.
That [D]
was what you all thought.
[Dm] It was [D] so seductive, the quietness of the beginning and how it erupts into some kind
of Oedipal [A]
craziness at the end.
And it [E] was dynamic.
It was drama of very, very high [D] order.
You know, the end is Oedipus Rex.
You know, it's Freud.
It's the Oedipal complex.
It's full of darkness.
Ah, yeah,
[Dm] [E] yeah.
Come on, baby.
Come [D] on, you.
Me, baby.
[A] Yeah.
[D]
[Dm] Yeah.
Come [D] on, baby.
[G]
Of course, originally we [Dm] had to mix that down.
But it's rhythmically part of it.
It's an instrument, you know.
[Gm] You wouldn't find this [A] on Ferry Cross the Mersey or whatever.
[D] I mean, this is like a 10-minute drone, no snares, moody [D] seance.
You can sense that they were experimenting and that you need that from true artists.
You need [E] them to reach in and say, you know, I don't know if this is ugly.
I don't know if this is odd.
But here it [N] is.
I find it kind of beautiful.
[D] [N]
And this was all recorded live in the studio, no overdubs whatsoever.
And here we go.
[Db]
[Ab]
[D] Raise piano bass.
[Dm]
[D]
This is the [C] end, beautiful [D] friend.
This is the end, [C] my only [D] friend, the end.
This is the end.
[D] What's he talking about?
[C] Do people write about it?
Is he [G] writing about death?
Do people do that in a song?
That's nothing [Bb] like oh, blah, dee, oh, blah, dah.
What's going on?
The End actually started out as a love, no, not a love, well, a love song, a goodbye love song.
This is the end, beautiful friend.
And Jim sang it to us a cappella, and we kind of went whoa, okay, that's dark.
And the whole long 10-minute middle section of poetry and all that stuff kind of [B] evolved
playing live, and we had sections where he could put in whatever he wanted while we would [D] vamp.
At the Whiskey a Go-Go, Jim came up with this great part, and we'd never heard it before.
It's the first time he ever did this on stage.
Whiskey a Go-Go packed, and he had that aura about him that had just stopped the entire place.
Everything had gone into just frozen moment in time.
Nothing was going on except this, Dan Smores' drums and Robbie playing some sitar things,
and Morrison says, the killer awoke before dawn.
God, what is he going to do?
He put his boots on.
He took a face from the ancient gallery, and he walked on down the hallway, baby.
Came to a dawn.
He looked inside.
Father, yes, son, I want to kill you.
[G]
[D] Mother,
[Bb] I want [A] to.
That [D]
was what you all thought.
[Dm] It was [D] so seductive, the quietness of the beginning and how it erupts into some kind
of Oedipal [A]
craziness at the end.
And it [E] was dynamic.
It was drama of very, very high [D] order.
You know, the end is Oedipus Rex.
You know, it's Freud.
It's the Oedipal complex.
It's full of darkness.
Ah, yeah,
[Dm] [E] yeah.
Come on, baby.
Come [D] on, you.
Me, baby.
[A] Yeah.
[D]
[Dm] Yeah.
Come [D] on, baby.
[G]
Of course, originally we [Dm] had to mix that down.
But it's rhythmically part of it.
It's an instrument, you know.
[Gm] You wouldn't find this [A] on Ferry Cross the Mersey or whatever.
[D] I mean, this is like a 10-minute drone, no snares, moody [D] seance.
You can sense that they were experimenting and that you need that from true artists.
You need [E] them to reach in and say, you know, I don't know if this is ugly.
I don't know if this is odd.
But here it [N] is.
I find it kind of beautiful.
[D] [N]
Key:
D
Dm
A
C
G
D
Dm
A
The last selection on side two, the last of the album is called The End.
And this was all recorded live in the studio, no overdubs whatsoever.
_ And here we go. _ _ _ _ _
[Db] _ _ _ _ _ _ _ _
_ [Ab] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[D] Raise piano bass. _ _ _ _ _
_ _ [Dm] _ _ _ _ _ _
_ _ _ _ _ _ _ _
[D] _ _ _ _ _ _ _ _
_ _ _ This is the [C] end, beautiful _ [D] friend. _ _ _
_ _ This is the end, _ [C] my only [D] friend, the end.
This is the end.
_ _ [D] _ What's he talking about?
[C] Do people write about it?
Is he [G] writing about death?
Do people do that in a song?
That's nothing [Bb] like oh, blah, dee, oh, blah, dah.
What's going on?
The End actually started out as a love, no, not a love, well, a love song, a goodbye love song.
This is the end, beautiful friend.
And Jim _ sang it to us a cappella, and we kind of went whoa, okay, that's dark.
_ And the whole long 10-minute middle section of poetry and all that stuff kind of [B] evolved
_ playing live, and we had sections where he could put in whatever he wanted while we would [D] vamp.
At the Whiskey a Go-Go, Jim came up with this great part, _ _ _ and we'd never heard it before.
It's the first time he ever did this on stage.
Whiskey a Go-Go packed, and he had that aura about him that had just stopped the entire place.
Everything had gone into just frozen moment in time.
Nothing was going on except this, Dan Smores' drums and Robbie playing some sitar things,
and Morrison says, _ the killer awoke before dawn.
_ God, what is he going to do?
He put his boots on.
He took a face from the ancient gallery, and he _ _ _ walked on down the hallway, baby. _ _ _ _ _ _ _
_ Came to a dawn.
_ He looked inside. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ Father, _ _ _ _ yes, son, _ I want to kill _ you. _ _
_ _ _ _ _ _ _ [G] _
_ _ _ [D] _ Mother, _ _
_ _ [Bb] I want [A] to. _ _
_ That [D] _ _ _ _ _
_ _ _ _ was what you all thought. _
[Dm] It was [D] so seductive, the quietness of the beginning and how it erupts into some kind
of Oedipal [A]
craziness at the end.
_ And it [E] was _ dynamic.
It was drama of very, very high [D] order.
You know, the end is Oedipus Rex.
You know, it's Freud.
It's the Oedipal complex.
It's full of darkness.
Ah, yeah, _ _ _ _ _
[Dm] _ _ _ _ _ _ [E] yeah.
Come on, baby.
Come [D] on, you.
Me, baby.
[A] Yeah.
_ [D] _ _ _ _ _
_ [Dm] Yeah.
Come [D] on, baby.
_ [G]
Of course, originally we [Dm] had to mix that down.
But it's rhythmically part of it.
It's an instrument, you know.
[Gm] You wouldn't find this [A] on Ferry Cross the Mersey or whatever.
[D] I mean, this is like a 10-minute drone, no snares, moody [D] seance.
You can sense that they were experimenting and that you need that from true artists.
You need [E] them to reach in and say, you know, I don't know if this is ugly.
I don't know if this is odd.
But here it [N] is.
I find it kind of beautiful.
_ _ _ [D] _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _
And this was all recorded live in the studio, no overdubs whatsoever.
_ And here we go. _ _ _ _ _
[Db] _ _ _ _ _ _ _ _
_ [Ab] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[D] Raise piano bass. _ _ _ _ _
_ _ [Dm] _ _ _ _ _ _
_ _ _ _ _ _ _ _
[D] _ _ _ _ _ _ _ _
_ _ _ This is the [C] end, beautiful _ [D] friend. _ _ _
_ _ This is the end, _ [C] my only [D] friend, the end.
This is the end.
_ _ [D] _ What's he talking about?
[C] Do people write about it?
Is he [G] writing about death?
Do people do that in a song?
That's nothing [Bb] like oh, blah, dee, oh, blah, dah.
What's going on?
The End actually started out as a love, no, not a love, well, a love song, a goodbye love song.
This is the end, beautiful friend.
And Jim _ sang it to us a cappella, and we kind of went whoa, okay, that's dark.
_ And the whole long 10-minute middle section of poetry and all that stuff kind of [B] evolved
_ playing live, and we had sections where he could put in whatever he wanted while we would [D] vamp.
At the Whiskey a Go-Go, Jim came up with this great part, _ _ _ and we'd never heard it before.
It's the first time he ever did this on stage.
Whiskey a Go-Go packed, and he had that aura about him that had just stopped the entire place.
Everything had gone into just frozen moment in time.
Nothing was going on except this, Dan Smores' drums and Robbie playing some sitar things,
and Morrison says, _ the killer awoke before dawn.
_ God, what is he going to do?
He put his boots on.
He took a face from the ancient gallery, and he _ _ _ walked on down the hallway, baby. _ _ _ _ _ _ _
_ Came to a dawn.
_ He looked inside. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ Father, _ _ _ _ yes, son, _ I want to kill _ you. _ _
_ _ _ _ _ _ _ [G] _
_ _ _ [D] _ Mother, _ _
_ _ [Bb] I want [A] to. _ _
_ That [D] _ _ _ _ _
_ _ _ _ was what you all thought. _
[Dm] It was [D] so seductive, the quietness of the beginning and how it erupts into some kind
of Oedipal [A]
craziness at the end.
_ And it [E] was _ dynamic.
It was drama of very, very high [D] order.
You know, the end is Oedipus Rex.
You know, it's Freud.
It's the Oedipal complex.
It's full of darkness.
Ah, yeah, _ _ _ _ _
[Dm] _ _ _ _ _ _ [E] yeah.
Come on, baby.
Come [D] on, you.
Me, baby.
[A] Yeah.
_ [D] _ _ _ _ _
_ [Dm] Yeah.
Come [D] on, baby.
_ [G]
Of course, originally we [Dm] had to mix that down.
But it's rhythmically part of it.
It's an instrument, you know.
[Gm] You wouldn't find this [A] on Ferry Cross the Mersey or whatever.
[D] I mean, this is like a 10-minute drone, no snares, moody [D] seance.
You can sense that they were experimenting and that you need that from true artists.
You need [E] them to reach in and say, you know, I don't know if this is ugly.
I don't know if this is odd.
But here it [N] is.
I find it kind of beautiful.
_ _ _ [D] _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _