There’s probably not a soul on this planet that hasn’t at least once in his life heard about The Doors or listened one of their songs.

I’ve discovered them when I started discovering all the music: in the early 90’s after the Revolution.

I remember buying a “Best Of” tape whose cover showed Jim Morrison’s naked chest (from the famous naked series); I’m sure everyone will understand my urge to get my hands on that, since a (straight) guy I once knew said Jim was probably the only guy in the world that he would have fucked.

I liked the songs they became famous for, but I take pride in discovering the overlooked masterpieces of every artist, and so many times the best songs (and the ones I come to love most) are the ones previously unreleased on single/video.

Everything’s clear til here. What about The Doors of the 21st century, huh? A while ago the Doors keyboardist Ray Manzarek and Robbie Krieger started touring as The Doors of the 21st Century, but they were recently forced to disassociate themselves from the “Doors” name after a legal battle with their former drummer, John Densmore.

Okay, okay, but who had the balls to walk in Jim Morrison’s shoes?! None other than Ian Astbury.

What do you mean who the hell is Ian Astbury?! The answer is somewhat simple: if you ever listened to the “Gone in 60 seconds” original soundtrack, you might have come across “Painted on my heart”, a mind haunting ballad from The Cult.

I know, I know, who the hell is The Cult…

Well, I’ve discovered them in 1993, when I recorded “Wild Flower” from MTV’s “Headbanger’s Ball”. I loved their wild energy and the way this band performed on stage. Honestly, I couldn’t sit down while watching this video. Back then I thought it was a new album, but in fact “Electric” was released in 1987. I began collecting their albums and also found out they have been around for quite a while, initially as “The Southern Death Cult”, then as “The Death Cult”. I have these albums as well, although they are quite hard to come by these days. Success finally came after shortening their name to “The Cult” and recording their 1985 effort – “Love”.

As a long time follower of their career, I noticed their style evolving from the garage days, Sisters of Mercy like tracks to more mature songs, with a distinctive sound of their own, a catchy line, a sensual, unmistakable voice, and the charismatic presence of their front man, Ian Astbury.

If you want an album to get acquainted with a great band, you should definitely get your hands on “Pure Cult”, a collection of their most popular songs. There was a time when I would play it every day, from start to finish. That time lasted very long, and for someone who gets easily bored, that should say something.

Anyway, nothing can be done about the Doors, but the good news is that The Cult is reformed. According to Rolling Stone Magazine, Astbury insists that we not call it a comeback. “This run of dates is called A Return to Wild – not Resurrection, Insurrection, Sonic Interjection, Revival. It’s fucking authentically real,” he says. “I like the idea that we’re men with guitars, and it is rock but it’s not rawwwkkk. It’s strong and it’s virile and it’s kind of like big boys playing with big-boy toys.”

I don’t know about you guys, but I am so looking forward for a new Cult album…