This is where this list becomes a free-for-all. Considering how dismissive people can be about the Doors these days, it’s pretty surprising to remember that their catalog is, well, close to impeccable. Morrison Hotel is a crucial album in their career, the comeback and reinvigoration after the The Soft Parade. It was when they settled on their final form, a more direct and muscular blues-rock that could be drunkenly ferocious and swaggering on tracks like “Roadhouse Blues” and “Maggie McGill,” with less of the psychedelic-pop vestiges of their past. But while the opening one-two of “Roadhouse Blues” and “Waiting For The Sun” is one of their best song pairings, Morrison Hotel gets a little uneven through its middle, with cartoonish songs like “Ship Of Fools” and “Land Ho!” Generally speaking, this is an odd catalogue to rank when you get to this point because Morrison Hotel doesn’t do too many things wrong; you could easily rank it higher, and most people probably would. But while the playing and songwriting is on par with any of their other finest moments, it lacks some of the stunning deep cuts and massive hits of their other records, and they wound up far outdoing this version of themselves the following year with L.A. Woman.