With Morrison Hotel, the Doors went back to the basics: rock 'n' blues; no horns 'n' strings. Now, it was just the four Doors, recording at Elektra Studios. And it worked. Partly, it was because Jim Morrison wasn't writing many, if any new lyrics. (He did contribute to every track, but mostly by way of poems, or fragments of poetry from his notebooks.) Also, he was interested in reacquainting himself with the blues, and the freedom a jam session could afford. One evening, short of tunes for the new album, they did just that, playing for an hour and winding through what Morrison called "the whole history of rock music, starting with blues, going through rock 'n' roll, surf music, Latin, the whole thing." The result didn't make it on the album, but gave the band a direction; a groove. It'd be heard in Morrison's "Roadhouse Blues," in "You Make Me Real," in the Memphis soul tribute, "Peace Frog," and in the raver, "Maggie McGill." Morrison's voice is ragged, sometimes, evidence of his hard-living ways. But it works, both for the blues and the ballads, "Indian Summer" and "Blue Sunday." The Doors weren't just back to basics. They were back.