Alongside autumn’s assortment of holidays, the season provides a broad selection of festive music. Songs about monsters, turkeys and Santa Claus dominate the ears of virtually any shopper or driver throughout the course of the season, regardless of their desire, or lack thereof, to listen. Many fantastic songs fall into this category. Bobby Pickett’s “Monster Mash”, the overabundance of takes on “The Christmas Song” and the music from holiday-themed Peanuts specials are played on repeat because they are adored as symbols of beloved celebrations. The season itself, however, is defined by more than its holidays. Pennsylvania autumn is a time of changing leaves, unpredictable weather and the nostalgia that traditions unearth. Therefore, the music best suited for the time is often found outside the holiday category, with two of the greatest examples being The Band’s creatively titled album “The Band” and The Doors’ equally original “The Doors”. 

From the opening chord of “The Band”, the listener is instantly transported to an America of the past. The first track, “Across the Great Divide,” sets the scene with the story of a marital feud. A husband begs his wife to reconsider taking his life, with references to the harvest moon, traditional family structures and a small riverside town portraying simpler days. Singer Levon Helm’s Arkansas accent lends an old–time feel to the track. With each subsequent song, the connection to nostalgia and nature grows stronger. Tracks such as “The Night They Drove Old Dixie Down” use language specific to time periods in American history, with the aforementioned song referencing the Civil War. They also evoke feelings of a more personal past. “When You Awake” details advice given by an older relative to a child, while “Rockin’ Chair” focuses on the reality of approaching old age. These universal themes resonate with almost everyone, making them the perfect pick for introspection as the weather grows colder. 

The final track, “King Harvest (Has Surely Come)”, offers the ultimate depiction of fall. It opens with the description of a cornfield at harvest time and the frustrated devotion of a union worker. Imagery surrounding nature continues throughout as the worker begs for rain after a particularly dry summer, trying to convince himself that everything will work out as long as he sticks with the union. The references to scarecrows and carnivals, as well as fall crops, set the time period and deliver the excitement and beauty of autumn. The struggles of the farmer allow for a plot that aligns with familiar literature and media. Both the concept and setting of the song create an undeniably autumnal atmosphere, while the roots rock sound pays homage to prominent genres from America’s history like country, folk and blues. “King Harvest” alone covers both the weather and mood of fall.

While “The Band” creates a listening experience that awakens the autumn mood without calling upon its holidays, “The Doors” is the perfect album for a specifically Halloween feeling without overt festivity. The frequent use of organs and strange–sounding chords creates a feeling of unease that permeates the album and a uniqueness that leaves the listener desperate for more as soon as the final track, aptly named “The End”, concludes. The lyrics add to the odd ambience. In “Soul Kitchen”, Jim Morrison conveys the image of crowded cars by singing that the vehicles “crawl past all stuffed with eyes”. The literal interpretation of the figurative language is horrific. Several songs combine an eerie sound and vague language to develop a sense of horror that is perfect for Halloween, such as “Alabama Song (Whiskey Bar)”. The use of a Vox Continental organ and an instrumental portion that is reminiscent of a carnival becomes especially creepy when it is paired with Morrison’s assertions that he will die without whiskey. This is amplified when he requests to be shown to the “next little girl”. Due to the vague lyrics, the listener is left to imagine terrible meanings. “The End” offers the most obvious connection to the fear associated with autumn. Jim Morrison sings about an inevitable goodbye to a friend, insane children and a killer’s murder spree. With a final reminder that “this is the end”, the album ends on a thoroughly horrific note.

Though neither of these albums are specifically connected to any fall holiday, they allow listeners to celebrate the spirit of the season and take a break from the monotony that is bound to follow even the best holiday music. “The Band” offers a comforting look at tradition, culture and the outdoors, while “The Doors” offers great contrast with its equally appropriate sense of horror. Either is a great option for anyone who is looking to appreciate the unique and wonderful aspects of the fall season.