It's an excellent album -- consistency-wise it might be The Doors' best album. While it lacks a hit quite as striking as "Break on Through" or "Light My Fire", it also lacks any losers (except the short "Horse Latitude"). It is a gloomy, atmospheric work -- almost like the afternath or hangover of the debut's celebration ("Strange Days" indeed). It culminates in my favorite Doors song -- "When the Music's Over", with its trippy jam and masterful shifts in tension. In the top echelon of '67, for sure -- a masterpiece of psychedelia.
BQ1: "When the Music's Over", "Strange Days", "Moonlight Drive", "Love Me Two Times", "People Are Strange"
BQ2: Excellent -- Jim's one of my favorite singers, and the guy who got me into reading and writing poetry. Any moment that gets a bit cartoonish ("Horse Latitudes") is made up for tenfold by "When the Music's Over". As an epic-style number, it improves upon "The End" and betters "Celebration of the Lizard" because it never really sags at any point -- the tension keeps rising with the steady threat of the guitar and organ riffs, with Jim getting into full Shaman mode. The moment he says "Now" and lets out that scream ranks up there with "Careful With That Axe, Eugene" in terms of most intense musical moments.
BQ3: The Doors were more controversial in terms of notoriety and publicity, given their far greater commercial success. In terms of content, it kind of depends on how you define "controversial". Musically, The Doors were exemplary, but not as radical as VU in terms of melodic structure and experimentation. Jim's lyrics were far more fantastical than Lou's -- they're both heavily indebted to the Beat poets, but Jim's style also shows the influence of Rimbaud and the Romance poets (Blake, Keats, etc.). Jim could be dark, but in a classical, epic-like way -- decadence gone wrong, revolution, even Hell. Lou favored a more frank approach, with bleak, darkly humerous portraits of drug use, hustling, homosexuality, and violence -- stuff like "Lady Godiva's Operation" is chilling. Then again, this all came out of a rather cold, detached voice (be it Lou's or John Cale's), which certainly adds to its macabre nature -- but what Jim lacked in graphicness or realism, he made up for in energy and charisma. Jim could sell a revolution in his shaman persona -- Lou preferred to sit back and analyze the New York environment than to radicalize it.
BQ4: The album cover isn't one of my favorites, but it matches the bizarre, gothic nature of the band's music.