That clipped drum figure sets the pace before Morrison enters, and the keyboard and guitar snap into the same tight groove.

Here the voice comes in with day destroying night, but it doesn't float above the band. It gets pushed through the same fast rhythm.

The first "Break on through" isn't a wide-open chorus. The band keeps it compact, so the command feels like it keeps hitting the same place.

When the lyric turns to chasing pleasures, the groove stays lean. There's enough swing to move with it, but not enough room to relax.

This middle stretch is mostly repetition doing the work: short bright instrument hits, rough vocal bite, and no real loosening underneath.

"Everybody loves my baby" changes the scene, and then "She get high" lifts out because the band refuses to slow down around it.

"I found an island in your arms" briefly sounds like shelter, but the rhythm keeps pulling it back into the same urgent song.

Now the words chop time smaller: week to week, day to day, hour to hour. The song has been fast all along, but here the lyric names that compression.

This return of "Break on through" feels worn into the track now, less like a new hook than the only thing the song knows how to do.

Those repeated "Hey" calls are almost all gesture, with the band still tight underneath them.

The ending doesn't drift away. The push lets go, then the track cuts off hard.