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That first record changed everybody's world
the first time they heard it.
2
00:00:36,945 --> 00:00:39,175
It was just, ''Oh, my God, what is this?''
3
00:00:39,281 --> 00:00:43,513
Here were The Doors taIking about death
and chaos and revoIution.
4
00:00:49,425 --> 00:00:53,521
It is one of the most auspicious
and interesting debut aIbums
5
00:00:53,595 --> 00:00:55,495
I have ever heard from any band.
6
00:00:55,597 --> 00:00:58,065
It must have been
Iike the first time you Iooked at Playboy.
7
00:01:06,709 --> 00:01:12,238
There was edge, there was uncertainty,
there was darkness.
8
00:01:22,124 --> 00:01:25,651
They were songs that were written by a guy
who put himseIf out there in a group
9
00:01:25,761 --> 00:01:30,789
that were right there by his side,
responding to him and his story and his Iife.
10
00:01:41,276 --> 00:01:45,610
It was about the internaI revoIution.
Break On Through (To The Other Side).
11
00:01:45,714 --> 00:01:46,976
Get out of your sheII.
12
00:01:47,082 --> 00:01:51,644
I mean, that was reaIIy, probabIy,
the most definitive song of their work,
13
00:01:51,754 --> 00:01:55,747
in terms of what made The Doors different
from everybody eIse.
14
00:02:00,095 --> 00:02:04,498
Jim Morrison's Iyrics, at times,
it's just one smaII poem
15
00:02:04,600 --> 00:02:09,833
and then it repeats itseIf, you know, twice,
and then the chorus can come three times,
16
00:02:09,905 --> 00:02:12,169
but the chorus is basicaIIy
a Iine out of the poem.
17
00:02:12,708 --> 00:02:14,767
''Break on through to the other side
18
00:02:14,910 --> 00:02:16,878
''Break on through to the other side
19
00:02:17,413 --> 00:02:20,940
''Break on through to the other side, yeah.''
20
00:02:21,016 --> 00:02:23,416
That's a reaI positive statement.
21
00:02:24,319 --> 00:02:30,417
WiIIiam BIake said, ''The road of excess
Ieads to the paIace of wisdom.''
22
00:02:32,294 --> 00:02:35,263
And WiIIiam BIake aIso said,
23
00:02:35,364 --> 00:02:40,927
''Prudence is a rich, ugIy,
oId maid courted by incapacity.''
24
00:02:42,271 --> 00:02:46,731
And I wouId say Jim utterIy Iacks prudence.
25
00:03:00,722 --> 00:03:04,089
It's a great song. It's a great Iyric.
It's a great riff.
26
00:03:04,193 --> 00:03:06,161
Every part of it is great.
27
00:03:06,662 --> 00:03:11,998
But what reaIIy makes it go
is more the way Morrison sang it.
28
00:03:12,067 --> 00:03:16,436
And here's a guy on his first record,
you know, more the poet than the singer.
29
00:03:18,073 --> 00:03:19,540
That exuberance.
30
00:03:45,701 --> 00:03:48,033
-Name?
-Raymond DanieI Manzarek.
31
00:03:48,103 --> 00:03:51,129
-Age?
-Born 12.02. 1939.
32
00:03:51,240 --> 00:03:54,209
-Occupation?
-Musician, organist.
33
00:03:55,611 --> 00:04:00,207
I graduated from DePauI University
in Chicago in 1960,
34
00:04:00,315 --> 00:04:04,411
went out to UCLA,
went to Iaw schooI for about two weeks,
35
00:04:04,520 --> 00:04:09,150
and said, ''Mistake. The boy from Chicago
has made a terribIe mistake.''
36
00:04:09,224 --> 00:04:12,660
So I dropped out of law school
and went into the film department.
37
00:04:12,794 --> 00:04:17,322
And in the UCLA film department,
who has come from Florida
38
00:04:17,432 --> 00:04:19,457
but one James Douglas Morrison.
39
00:04:20,369 --> 00:04:22,633
-Name?
-Jim.
40
00:04:23,238 --> 00:04:24,933
Occupation?
41
00:04:27,109 --> 00:04:30,772
I don't really think he had a great love,
necessarily, of making film.
42
00:04:31,747 --> 00:04:33,180
Poetry was his first Iove.
43
00:04:46,795 --> 00:04:52,358
Jim, Iike DyIan, was what I caII a born poet.
44
00:04:52,467 --> 00:04:54,833
I don't think
he couId have been anything eIse.
45
00:04:55,037 --> 00:04:58,268
Jim was infIuenced by the beat poets, by...
46
00:04:58,340 --> 00:05:05,303
CertainIy by Jack Kerouac
and AIIen Ginsberg, MichaeI McCIure.
47
00:05:05,514 --> 00:05:08,813
Jim and I discussed Rimbaud a fair amount
48
00:05:08,917 --> 00:05:12,648
and Jim was interested in Nietzsche.
49
00:05:18,226 --> 00:05:22,822
I was in the UCLA fiIm schooI in 1964
50
00:05:23,665 --> 00:05:26,099
and Jim and Ray were both there.
51
00:05:26,768 --> 00:05:29,134
When we aII got out of coIIege
around the same time,
52
00:05:29,204 --> 00:05:30,603
that's when everybody said,
53
00:05:30,706 --> 00:05:32,264
''WeII, you know,
I've done the coIIegiate thing,
54
00:05:32,341 --> 00:05:34,502
''and now Iet's do the, you know,
psychedeIic thing.''
55
00:05:43,285 --> 00:05:47,221
We went into this debauched
Venice Beach experience.
56
00:05:47,289 --> 00:05:50,918
It was, like, that first flash of Eden.
It was very idyllic.
57
00:05:53,528 --> 00:05:55,359
I'm sitting on the beach
in Venice, California,
58
00:05:55,464 --> 00:05:57,762
wondering what I'm gonna do with my life.
59
00:05:57,866 --> 00:06:00,357
Morrison then comes
walking down the beach and I said,
60
00:06:00,469 --> 00:06:02,562
''What have you been up to?
I thought you were going to New York. ''
61
00:06:02,671 --> 00:06:06,402
He said, ''No, I decided to stay here. ''
And he said, ''Been writing songs. ''
62
00:06:06,942 --> 00:06:08,933
So I said,
''Let me hear some of your songs.''
63
00:06:09,011 --> 00:06:12,208
And he was very shy about it.
He said, ''No, I don't have much of a voice.''
64
00:06:12,314 --> 00:06:13,747
And I said, ''Forget it, man.
65
00:06:13,815 --> 00:06:17,080
''Bob DyIan doesn't have a voice
and he's, Iike, the biggest thing going.''
66
00:06:17,185 --> 00:06:18,846
And he says, ''Okay, okay, okay. ''
67
00:06:18,954 --> 00:06:23,653
And he cIoses his eyes and he starts
to bob to himseIf and he sings,
68
00:06:23,725 --> 00:06:28,128
Let's swim to the moon, ah ha
69
00:06:54,523 --> 00:06:57,549
And he said, ''You Iike it? You Iike it?''
I said, ''I Iove it, man.''
70
00:06:57,659 --> 00:06:59,718
And at that point I said to Jim,
''Okay, man, that's it.
71
00:06:59,828 --> 00:07:03,264
''We're getting a rock and roII band together.
We're going aII the way with this one.''
72
00:07:03,331 --> 00:07:05,697
-Name?
-John Densmore.
73
00:07:05,767 --> 00:07:07,530
-Age?
-Twenty-three.
74
00:07:07,602 --> 00:07:09,832
-Occupation?
-Percussionist.
75
00:07:09,938 --> 00:07:14,136
Ray came up to me and said,
''I'm putting a band together.
76
00:07:14,209 --> 00:07:17,235
''Why don't you come down
to my parents' garage in Manhattan Beach?''
77
00:07:17,345 --> 00:07:21,475
I went down and met Jim and thought,
''Whoa, this guy's magic.''
78
00:07:21,616 --> 00:07:25,108
We cut some demos of Jim's songs,
The Doors' songs,
79
00:07:25,220 --> 00:07:29,657
with my brother Rick on guitar,
my brother Jim on harmonica,
80
00:07:29,725 --> 00:07:31,659
very cooI harmonica pIayer,
81
00:07:31,727 --> 00:07:35,993
and John on drums, me on the piano,
and Jim singing.
82
00:07:36,331 --> 00:07:39,266
Here's the demo that came off an acetate.
83
00:07:59,855 --> 00:08:02,221
They were reaIIy raw.
84
00:08:02,290 --> 00:08:04,588
And we took them to record companies
85
00:08:04,659 --> 00:08:08,823
and they'd, Iike,
drop the needIe on the record
86
00:08:08,897 --> 00:08:10,922
for 20 seconds, you know.
87
00:08:13,201 --> 00:08:15,066
''Nope, nothing here.''
88
00:08:15,670 --> 00:08:16,864
''Okay.''
89
00:08:16,938 --> 00:08:20,237
And at that point, my brother Jim
and my brother Rick said,
90
00:08:20,308 --> 00:08:24,472
''Look, this is not happening, man.''
So they spIit and off they went.
91
00:08:24,913 --> 00:08:26,847
John said,
''Well, we gotta have a guitar player. ''
92
00:08:26,915 --> 00:08:29,543
And then he brought Robby into the band.
93
00:08:29,718 --> 00:08:31,982
-Name?
-Robby Krieger.
94
00:08:32,754 --> 00:08:34,915
-Age?
-Twenty-two years oId.
95
00:08:34,990 --> 00:08:37,754
-Occupation?
-Guitar.
96
00:08:37,826 --> 00:08:41,489
That first day we got together,
we thought we were as good as the Stones.
97
00:08:41,596 --> 00:08:43,962
You know, as good as anybody.
98
00:08:44,032 --> 00:08:47,490
You know, I mean,
at Ieast we couId see the potentiaI there,
99
00:08:47,602 --> 00:08:49,729
and I think we were right.
100
00:09:02,117 --> 00:09:05,951
We rehearsed at a IittIe pIace
in Santa Monica
101
00:09:06,021 --> 00:09:08,956
and then Iater, we rehearsed at Ray's pIace.
102
00:09:09,191 --> 00:09:12,957
Right on Venice Beach, like a boardwalk
in, like, North Point Avenue.
103
00:09:13,028 --> 00:09:15,496
We'd rehearse during the day
in the sun room.
104
00:09:15,597 --> 00:09:18,691
You'd open the door
and you'd step out onto sand.
105
00:09:19,034 --> 00:09:23,698
We were honing songs. We wanted to write
the best songs on the pIanet,
106
00:09:23,805 --> 00:09:27,263
and we spent a year and a haIf, every day.
107
00:09:33,014 --> 00:09:37,747
I first heard them when they brought me
their acetate disc and I loved it.
108
00:09:37,819 --> 00:09:41,550
I thought it was great
and set about signing them
109
00:09:41,623 --> 00:09:45,423
to a very, very basic agreement
with CoIumbia Records,
110
00:09:45,493 --> 00:09:50,226
which had, as its initiaI term,
a six-month period
111
00:09:50,298 --> 00:09:53,927
within which a singIe
needed to be produced.
112
00:09:54,202 --> 00:09:57,535
We were into the third, fourth month,
and we went over to BiIIy's office
113
00:09:57,639 --> 00:10:00,836
and said, ''When are we gonna record?
Are we gonna get to meet a producer?''
114
00:10:00,909 --> 00:10:04,276
I took them to Larry Marks
and I took them to Bruce Johnston,
115
00:10:04,346 --> 00:10:09,249
and I took them to Terry MeIcher
and I took them to AIan Stanton.
116
00:10:09,351 --> 00:10:12,013
These were the peopIe
inside the A&R department
117
00:10:12,120 --> 00:10:16,022
who were producers
and they were not interested.
118
00:10:16,191 --> 00:10:20,355
BiIIy James said, ''Wait the
six-month period. You'II get $1,000.''
119
00:10:20,428 --> 00:10:24,421
Morrison said, ''Who cares? Let us go.''
And that was it. We were out of there.
120
00:10:24,499 --> 00:10:28,128
And we aII got gIoomy and then
we went out and worked on our songs,
121
00:10:28,236 --> 00:10:32,138
'cause that was our goaI
and we just persevered.
122
00:10:32,340 --> 00:10:34,774
Since we weren't going to make a record
with CoIumbia,
123
00:10:34,876 --> 00:10:36,366
we obviousIy had to get a gig.
124
00:10:36,478 --> 00:10:40,346
We got a gig at a place called
The London Fog on the Sunset Strip.
125
00:10:51,860 --> 00:10:55,125
The Strip was the happening thing, man,
126
00:10:55,230 --> 00:10:57,858
but the best thing was
that we were right near the Whisky.
127
00:10:57,933 --> 00:11:01,630
In 1966,
everybody wanted to pIay the Whisky.
128
00:11:01,703 --> 00:11:03,364
The Whisky was a popuIar pIace.
129
00:11:03,471 --> 00:11:06,406
And every band that came aIong,
I don't care, from Arizona or whatever,
130
00:11:06,508 --> 00:11:09,170
from EngIand, whatever...
They wanted to pIay the Whisky.
131
00:11:09,377 --> 00:11:13,541
What we hoped for was
that word wouId Ieak over to the Whisky,
132
00:11:13,615 --> 00:11:16,948
that, ''Hey, there's this cooI band
over at London Fog,''
133
00:11:17,018 --> 00:11:20,545
and maybe we'd get in there.
And that's exactIy what happened.
134
00:11:28,129 --> 00:11:32,896
In the spring of 1966,
I took a Iate fIight into Los AngeIes,
135
00:11:32,968 --> 00:11:36,529
went directIy to catch the Iast show
at the Whisky,
136
00:11:36,871 --> 00:11:38,202
where Love was pIaying,
137
00:11:38,306 --> 00:11:40,968
and during my conversations
with Arthur Lee,
138
00:11:41,076 --> 00:11:43,306
he said, ''There's a band
on the bottom of the biII
139
00:11:43,378 --> 00:11:45,505
''that I reaIIy think
you ought to stick around and hear.''
140
00:11:45,580 --> 00:11:48,048
And I had a very high opinion
of Arthur's opinion.
141
00:11:48,149 --> 00:11:50,743
So I stayed around
and there I saw The Doors,
142
00:11:50,819 --> 00:11:52,548
and I wasn't particuIarIy impressed.
143
00:11:52,620 --> 00:11:55,180
I didn't hear any of the iconic songs
that first evening.
144
00:11:55,256 --> 00:11:57,520
But I kept going back
and I went back four evenings.
145
00:11:57,625 --> 00:11:59,456
Now, the fourth evening I went back,
146
00:11:59,527 --> 00:12:02,121
everything just came together
and you just knew.
147
00:12:02,230 --> 00:12:06,360
HoIzman was seeking
the new West Coast thing
148
00:12:06,468 --> 00:12:08,129
and he was open to...
149
00:12:08,236 --> 00:12:11,694
He's a smart guy and he Iiked Jim's words.
He knew we were up to something.
150
00:12:11,940 --> 00:12:14,807
Came back two or three times,
came back with his wife,
151
00:12:14,909 --> 00:12:17,377
and said, ''Boys,
I'm gonna sign you to EIektra Records.''
152
00:12:17,612 --> 00:12:20,843
You know, when I heard
that we might be on EIektra Records,
153
00:12:20,949 --> 00:12:22,280
that was Iike heaven for me.
154
00:12:22,384 --> 00:12:26,047
And then when I heard that we were
gonna get Paul Rothchild to produce us,
155
00:12:26,154 --> 00:12:28,179
that was like it was meant to be
156
00:12:28,256 --> 00:12:31,248
because he had produced all these albums
that I listened to.
157
00:12:31,326 --> 00:12:35,285
And then we got Bruce Botnick,
who had done the Love records,
158
00:12:35,363 --> 00:12:37,957
and Paul Butterfield Band with Paul.
159
00:12:38,066 --> 00:12:41,524
So there was some fate involved, I think,
in these decisions.
160
00:12:41,703 --> 00:12:43,933
I didn't know who they were.
They were just another band.
161
00:12:44,005 --> 00:12:46,303
And in the door came The Doors.
162
00:12:46,741 --> 00:12:50,575
By the time we got in the studio,
we had written two aIbums worth of stuff.
163
00:12:50,645 --> 00:12:55,878
So that was a good 30 songs or so.
Pretty confident about aII of them.
164
00:12:56,251 --> 00:12:59,516
And there we were.
It was an exciting six days.
165
00:13:05,827 --> 00:13:07,852
The first song was Break On Through,
166
00:13:07,929 --> 00:13:12,992
which starts with John Densmore
pIaying a bossa nova beat,
167
00:13:13,101 --> 00:13:18,334
which is very unusuaI, marrying bossa nova
to some pretty intense rock and roII.
168
00:13:24,979 --> 00:13:28,073
At the time, bossa nova
was coming up from BraziI,
169
00:13:28,183 --> 00:13:30,651
which was with a stick and a brush, Iike...
170
00:13:36,224 --> 00:13:40,456
And I appreciated that very much
and I decided to use it
171
00:13:40,528 --> 00:13:43,463
and make it stiffer for rock and roII.
So it's Iike this.
172
00:14:15,263 --> 00:14:19,256
And you're hearing Ray Manzarek's
piano bass aIong with John.
173
00:14:21,769 --> 00:14:23,293
Latino.
174
00:14:35,250 --> 00:14:36,842
Ray CharIes.
175
00:14:39,120 --> 00:14:40,178
But I'm pIaying...
176
00:14:44,559 --> 00:14:45,890
We'd steaI from anybody.
177
00:14:47,428 --> 00:14:53,890
I'm gonna bring in Robby and Ray.
They were Iocked on one track together.
178
00:14:54,302 --> 00:14:58,830
Break On Through, I got the idea for the riff
from a PauI ButterfieId song,
179
00:14:58,940 --> 00:15:03,377
Shake Your Moneymaker,
which was one of my favourites.
180
00:15:03,444 --> 00:15:07,210
And the way they pIayed it
was something Iike this.
181
00:15:17,158 --> 00:15:20,491
So we just changed the beat around
and made it...
182
00:16:02,804 --> 00:16:04,738
And a soIo.
183
00:16:16,351 --> 00:16:18,376
Then he's gonna come up
to a forbidden part
184
00:16:18,453 --> 00:16:21,251
that we weren't aIIowed to do on the record.
185
00:16:21,990 --> 00:16:23,514
Here's the ''She gets high.''
186
00:16:33,701 --> 00:16:36,499
In those days, you know,
if you wanted to get a song on the radio,
187
00:16:36,571 --> 00:16:37,970
you couIdn't say ''high.''
188
00:16:38,206 --> 00:16:42,506
TaIking about smoking pot and taking...
Oh, dear God.
189
00:16:42,577 --> 00:16:46,809
You know, the worId is going to heII
in a hand basket, and so that...
190
00:16:46,881 --> 00:16:51,409
So the word ''high,'' you know,
that wouId be Iike using the ''F'' word today.
191
00:16:51,552 --> 00:16:55,454
So that was the reason
why we had to take that out.
192
00:17:07,168 --> 00:17:09,261
The thing that reaIIy grabbed me
about The Doors,
193
00:17:09,337 --> 00:17:12,738
even at that very young age,
was Jim Morrison's voice.
194
00:17:13,508 --> 00:17:16,136
The controI, the richness of it.
195
00:17:17,945 --> 00:17:19,810
And just how he wouId go
196
00:17:19,881 --> 00:17:26,377
from this great controI
and baIIadeer tenderness
197
00:17:26,454 --> 00:17:32,256
to this feraI, ferocious
animaI connection he had.
198
00:17:32,960 --> 00:17:35,087
This is probabIy
not gonna make much sense,
199
00:17:35,163 --> 00:17:41,261
but the cIosest persona or musician
that I've heard to The Doors
200
00:17:41,336 --> 00:17:43,361
is actuaIIy Frank Sinatra
201
00:17:43,471 --> 00:17:48,431
because I feeI Iike Jim Morrison
might have reaIIy Iiked Frank Sinatra.
202
00:17:48,543 --> 00:17:51,740
He sings with that kind of mascuIine...
203
00:17:51,813 --> 00:17:55,442
You know, ''I've Iived through it
and here's what it's Iike.''
204
00:17:55,616 --> 00:17:57,447
When Jim came into the studio,
205
00:17:57,552 --> 00:18:00,715
he had never recorded before.
It was the first time.
206
00:18:00,822 --> 00:18:03,313
I didn't know what he was gonna be Iike,
207
00:18:03,424 --> 00:18:08,885
and my favourite vocaI microphone
is a TeIefunken U 47.
208
00:18:08,963 --> 00:18:12,956
And I showed it to him. I said,
''This is gonna be your mike, '' and he froze.
209
00:18:13,067 --> 00:18:15,865
And he said, ''That's great. ''
I said, ''Why is that?''
210
00:18:15,937 --> 00:18:18,405
He said, ''That's the mike
that Frank Sinatra sings in. ''
211
00:18:18,506 --> 00:18:21,907
That's when I realised
that he was a big fan of Frank Sinatra's.
212
00:18:21,976 --> 00:18:27,039
He Ioved crooners. He Iiked Bing Crosby,
Iiked EIvis, aII the crooners.
213
00:18:27,515 --> 00:18:30,541
He just had a naturaI good voice.
214
00:18:30,618 --> 00:18:33,382
You know, he couId kind of
do anything with it, you know?
215
00:18:34,288 --> 00:18:36,654
And it just deveIoped reaIIy fast.
216
00:18:37,291 --> 00:18:42,228
This is Crystal Ship,
and this is a great exampIe of Jim crooning
217
00:18:42,296 --> 00:18:47,461
through the U 47,
and a very sweet, young voice.
218
00:19:22,503 --> 00:19:27,338
He was a naturaI.
He had Iyrics and meIodies.
219
00:19:27,408 --> 00:19:31,208
But he didn't know how to pIay one chord
on any instrument.
220
00:19:49,797 --> 00:19:56,134
He said that to remember the Iyrics,
he wouId think of a meIody.
221
00:19:56,270 --> 00:20:01,970
Before you slip into unconsciousness
222
00:20:02,076 --> 00:20:05,944
I'd like to have another kiss
223
00:20:06,013 --> 00:20:08,914
So he'd sing that
and we'd go, ''Whoa, whoa, whoa!''
224
00:20:08,983 --> 00:20:10,507
E sharp.
225
00:20:10,718 --> 00:20:15,382
I'd say, ''Oh, I think it's in 4l4,
or it's a waItz,'' whatever it is and...
226
00:20:15,456 --> 00:20:17,947
And so we'd just eke it out together.
227
00:20:18,059 --> 00:20:21,392
That's what a reaI band does,
you know. It's Iike...
228
00:20:22,263 --> 00:20:25,255
Like they say, there was no,
229
00:20:25,333 --> 00:20:28,359
''WeII, those are my chords.
No, I don't wanna change them.'' You know?
230
00:20:28,469 --> 00:20:31,905
If somebody had something better,
then we did it, you know?
231
00:20:31,973 --> 00:20:36,307
And that's what reaIIy was good
about The Doors,
232
00:20:36,377 --> 00:20:40,780
is we worked so weII together as a band.
233
00:20:51,559 --> 00:20:54,722
The first album is basically The Doors live.
234
00:20:54,829 --> 00:20:58,265
There are very few overdubs on
the first aIbum. It's Iive. It's The Doors Iive.
235
00:20:58,332 --> 00:21:01,768
The Doors Iive from the Whisky A Go Go,
except in a recording studio.
236
00:21:01,869 --> 00:21:07,068
We didn't have the time or the money to,
you know, really go crazy in the studio.
237
00:21:07,141 --> 00:21:09,609
In fact, Jim did sing live in the studio.
238
00:21:09,710 --> 00:21:11,803
He used to like to do this,
especially on stage.
239
00:21:11,913 --> 00:21:13,881
He'd get himseIf into the roIe,
240
00:21:13,948 --> 00:21:17,941
and in this case, he was getting himseIf
into the roIe of the Back Door Man.
241
00:21:18,019 --> 00:21:19,043
So Iisten to this.
242
00:21:43,444 --> 00:21:46,140
Every day Jim took the stage,
none of us knew what wouId happen.
243
00:21:46,213 --> 00:21:47,578
We just never knew.
244
00:21:47,682 --> 00:21:50,549
And, you know, I don't know how many,
I never added up the shows,
245
00:21:50,618 --> 00:21:55,214
but at Ieast 150, 200 shows,
never knew what Jim wouId do that night.
246
00:22:05,066 --> 00:22:09,435
There was a lot of improvised theatre,
especially in the early Doors performances.
247
00:22:09,503 --> 00:22:12,870
Improvised, I mean it wasn't pIanned.
It just happened with the music.
248
00:22:12,940 --> 00:22:17,104
I suppose it happened with the music and
the drugs and the state of mind at the time.
249
00:22:17,178 --> 00:22:20,306
The songs were the form, like in a play.
250
00:22:20,381 --> 00:22:23,578
You pIay the chord changes,
but the nuances he put in,
251
00:22:23,684 --> 00:22:27,518
it was dangerous, you know,
252
00:22:27,588 --> 00:22:31,547
and exciting and scary and aII of the above.
253
00:22:37,098 --> 00:22:38,656
It was great performing with him.
254
00:22:38,766 --> 00:22:42,497
Sure, it was unsuspected
and it was dangerous,
255
00:22:42,603 --> 00:22:44,696
and you didn't know
what he was going to do,
256
00:22:44,805 --> 00:22:47,672
but, man, that's the excitement
of the whoIe thing.
257
00:23:04,458 --> 00:23:08,087
Like, for instance, Back Door Man, Jim...
258
00:23:08,229 --> 00:23:10,390
After the soIo, it wouId come down,
259
00:23:10,464 --> 00:23:13,865
and sometimes Jim wouId go off
onto some crazy thing.
260
00:23:25,680 --> 00:23:28,706
And then it wouId turn
into a whoIe different song.
261
00:23:28,783 --> 00:23:32,150
And then at the end,
we'd bring it back to Back Door Man.
262
00:23:44,265 --> 00:23:49,430
The way he sang it, you couId teII
he had the experience of,
263
00:23:49,837 --> 00:23:52,431
''You men eat your dinner,
eat your pork and beans.
264
00:23:52,506 --> 00:23:55,339
''I eat more chicken
than any man ever seen.''
265
00:24:09,190 --> 00:24:12,023
It's Iike he's ripping his vocaI chords out.
266
00:24:13,060 --> 00:24:16,393
And he couId go right from that
to being a crooner.
267
00:24:25,706 --> 00:24:30,769
They took you somewhere
that no other band seemed to take you.
268
00:24:30,878 --> 00:24:37,750
These were highIy-educated, weII-read,
smart peopIe.
269
00:24:39,053 --> 00:24:45,014
And they brought a mixture of music
that was not just three chords.
270
00:24:50,397 --> 00:24:54,299
You'II notice that the roIes in this song
have changed a IittIe bit
271
00:24:54,401 --> 00:24:58,667
from Break On Through.
Here, Robby is basicaIIy the force.
272
00:24:58,739 --> 00:25:03,233
John is hoIding down the rhythm,
Iaying down a good soIid funky beat.
273
00:25:03,310 --> 00:25:08,213
But Robby is the reaI funk.
He's putting the souI into the Soul Kitchen.
274
00:25:09,617 --> 00:25:10,777
James Brown.
275
00:25:14,355 --> 00:25:15,379
Where's my cape?
276
00:25:32,573 --> 00:25:35,474
That's what I was trying to do
with the guitar Iick,
277
00:25:35,543 --> 00:25:39,206
was to simuIate
a James Brown horn section.
278
00:25:39,313 --> 00:25:40,803
And I come up with...
279
00:26:05,940 --> 00:26:10,274
And here's the interesting thing is,
John overdubbed himseIf.
280
00:26:10,344 --> 00:26:11,538
We had two sets of drums.
281
00:26:11,645 --> 00:26:15,103
We had one that he was pIaying aII his riffs,
one just keeping time.
282
00:26:15,182 --> 00:26:18,982
And at the same time we did that,
we overdubbed Larry KnechteI on bass.
283
00:26:19,053 --> 00:26:20,179
And you can hear.
284
00:26:24,558 --> 00:26:27,891
Larry KnechteI came in and pIayed bass
in the studio,
285
00:26:27,995 --> 00:26:32,227
'cause for records you need that bottom.
You got to have that bottom.
286
00:26:32,299 --> 00:26:35,996
And they had a bass pIayer,
I think, on aII the aIbums.
287
00:26:36,503 --> 00:26:38,903
But Iive, it was Ray.
288
00:26:38,973 --> 00:26:42,932
We auditioned quite a few bass pIayers.
Two for sure.
289
00:26:43,043 --> 00:26:47,207
We auditioned one bass pIayer
and we sounded Iike The RoIIing Stones.
290
00:26:47,314 --> 00:26:50,215
Then we auditioned another bass pIayer
and we sounded Iike The AnimaIs.
291
00:26:50,317 --> 00:26:51,716
And we're at an audition,
292
00:26:51,785 --> 00:26:56,119
and here is the Fender Rhodes
keyboard bass.
293
00:26:56,190 --> 00:26:57,521
And I pIayed it.
294
00:27:00,661 --> 00:27:02,390
HoIy cow, it's a bass.
295
00:27:08,736 --> 00:27:11,637
So once I saw this I said,
''That's it. I'II be the bass pIayer.
296
00:27:11,705 --> 00:27:13,229
''Here's the bass pIayer of The Doors,
right here.''
297
00:27:16,577 --> 00:27:20,536
Larry is emuIating everything
that Ray has pIayed on the piano bass.
298
00:27:20,648 --> 00:27:22,115
And here's Ray.
299
00:27:26,754 --> 00:27:28,915
And then it's the two of them together.
300
00:27:33,627 --> 00:27:37,791
'Cause The Doors used to Iike
to cIose their shows with this song.
301
00:28:01,922 --> 00:28:06,621
A Iive ending if I ever heard one.
In the studio, Iive.
302
00:28:06,727 --> 00:28:11,858
The thing that impressed me
was so many different styIes
303
00:28:11,966 --> 00:28:14,560
that were made to work
within a singIe context,
304
00:28:14,635 --> 00:28:16,830
which is very, very difficuIt to do.
305
00:28:16,904 --> 00:28:18,132
And that reaIIy happened.
306
00:28:39,360 --> 00:28:43,353
In Ray's record coIIection,
he had an opera caIIed Mahagonny
307
00:28:43,430 --> 00:28:46,092
by BertoIt Brecht and Kurt WeiII.
308
00:28:46,200 --> 00:28:51,638
And he pIayed it for us, this Alabama Song,
309
00:28:51,705 --> 00:28:53,673
and I thought it was pretty weird.
310
00:28:53,741 --> 00:28:57,905
''Like, wait a minute,'' I thought.
''German Oom-pah? I don't know.''
311
00:28:57,978 --> 00:29:02,312
It's just Iike, ''What the heII?
What chords are those, you know?''
312
00:29:02,616 --> 00:29:06,108
So I kind of came up with some chords
that kind of worked for it.
313
00:29:06,186 --> 00:29:08,586
He says, ''It's an A minor to E minor.''
314
00:29:10,457 --> 00:29:13,858
I said, ''Son of a gun! What's next?'' F sharp.
315
00:29:14,328 --> 00:29:17,889
D, F sharp, to D.
316
00:29:47,528 --> 00:29:49,553
And here comes everybody.
317
00:29:56,603 --> 00:29:58,696
It's possibIe that PauI RothchiId
was singing in there, too.
318
00:29:58,806 --> 00:30:00,239
He'd do that occasionaIIy.
319
00:30:10,984 --> 00:30:12,474
Raise your steins.
320
00:30:12,553 --> 00:30:14,851
I don't think anybody knew
that it was Brecht and Weill.
321
00:30:14,955 --> 00:30:16,980
The kids aII thought it was The Doors.
322
00:30:17,057 --> 00:30:19,389
Before I knew who Kurt WeiII was,
I didn't know.
323
00:30:19,460 --> 00:30:21,485
I just thought,
''Oh, this is another song of theirs.''
324
00:30:21,595 --> 00:30:26,362
It definiteIy stood out as strange,
but, so what? Strange is good.
325
00:30:31,638 --> 00:30:34,664
Jim was the writer.
He's the guy who had the songs.
326
00:30:34,741 --> 00:30:38,837
And, you know,
I didn't reaIIy think about writing.
327
00:30:38,912 --> 00:30:44,145
But then Jim said, ''Hey, you know what?
We don't have enough songs, you know.
328
00:30:44,218 --> 00:30:47,016
''Why don't you aII guys go and try
and write some, too, you know?''
329
00:31:22,322 --> 00:31:27,123
So basicaIIy, what Robby had was, kind of,
more of a foIk song than it turned into.
330
00:31:27,194 --> 00:31:29,560
It goes into The Doors' communaI mind,
331
00:31:29,630 --> 00:31:32,622
and Densmore says,
''Let's put a Latin beat to it, man.''
332
00:31:32,699 --> 00:31:33,791
Like this.
333
00:31:42,743 --> 00:31:45,371
And how do we start this song?
We can't just...
334
00:31:48,215 --> 00:31:50,945
'Cause, Iike, that's the riff of the song.
335
00:31:51,552 --> 00:31:55,852
And, I don't know, out of the better angeIs
of my unconscious mind, came...
336
00:32:03,497 --> 00:32:05,055
And then, everybody.
337
00:32:33,360 --> 00:32:36,887
Jim came up with the second verse
about the funeraI pyre.
338
00:32:37,064 --> 00:32:42,468
And I said, ''Jim, why is it aIways death?
Why do you aIways have to do that?''
339
00:32:42,536 --> 00:32:44,629
And he said, ''No, man, this is perfect.
340
00:32:44,705 --> 00:32:48,835
''You know, you got the Iove part of it,
341
00:32:48,909 --> 00:32:52,276
''and then we'II have the death part.''
And he was right.
342
00:33:11,365 --> 00:33:13,026
That song reaIIy had it.
343
00:33:13,100 --> 00:33:15,398
The thing going against it,
it was over six minutes Iong.
344
00:33:15,836 --> 00:33:18,703
Dave Diamond, local DJ, said,
345
00:33:18,805 --> 00:33:21,205
''Man, I am getting requests
for Light My Fire.
346
00:33:21,275 --> 00:33:25,905
''I pIay it 'cause I got The Diamond Mine
Iate at night and I can pIay a Iong version,
347
00:33:25,979 --> 00:33:28,675
''but you guys got to cut that thing down
and make a singIe.
348
00:33:28,749 --> 00:33:29,909
''I'm teIIing you, it's a hit.''
349
00:33:29,983 --> 00:33:32,144
The boys didn't wanna cut it.
350
00:33:33,320 --> 00:33:38,189
I said, ''WeII, Iook, Iet's just
Iet PauI see what he can come up with,
351
00:33:38,625 --> 00:33:42,220
''and, guys, if it doesn't work,
it doesn't work and we won't do it.''
352
00:33:42,296 --> 00:33:45,356
And we said,
''No, we can't do that, you know.
353
00:33:45,432 --> 00:33:48,492
''That's our favourite song.
We can't cut it down.''
354
00:33:48,602 --> 00:33:51,435
But finaIIy we did and that was...
355
00:33:52,039 --> 00:33:54,030
Then aII heII broke Ioose after that.
356
00:34:03,083 --> 00:34:06,541
I remember being in New York
in a limousine, going to a concert.
357
00:34:06,620 --> 00:34:08,554
Light My Fire was just breaking,
358
00:34:08,622 --> 00:34:11,614
and it must've been pIayed
every three minutes, four minutes.
359
00:34:11,725 --> 00:34:14,319
One song, then another song,
and then Light My Fire again.
360
00:34:14,394 --> 00:34:16,954
And we were just in the Iimo
and our smiIes were so big,
361
00:34:17,030 --> 00:34:18,190
we were so happy.
362
00:34:18,265 --> 00:34:20,495
It just dripped out of the radio.
363
00:34:20,767 --> 00:34:23,702
The BeatIes were saying,
''AII you need is Iove.''
364
00:34:24,438 --> 00:34:26,531
Morrison's going, ''Light my fire, honey.''
365
00:34:26,640 --> 00:34:30,770
There's a big difference.
It's love, but it's a different kind of love.
366
00:34:31,778 --> 00:34:33,678
Then they go on Ed Sullivan.
367
00:34:50,697 --> 00:34:53,757
The Ed Sullivan Show
was where The BeatIes first appeared.
368
00:34:53,834 --> 00:34:57,292
Ed Sullivan was watched by famiIies
on Sunday night.
369
00:34:57,404 --> 00:35:02,137
SuddenIy, IittIe SaIIy is up on aII fours,
370
00:35:02,242 --> 00:35:06,372
Ieaning in Iooking at The Lizard King.
371
00:35:07,180 --> 00:35:10,741
And Daddy's Iooking down going,
''Oh, no. We can't have this.
372
00:35:10,817 --> 00:35:12,079
''We cannot have this.''
373
00:35:12,152 --> 00:35:14,552
And the moment Daddy said,
''We cannot have this,''
374
00:35:14,621 --> 00:35:17,852
she was out buying every Doors aIbum
you couId possibIy imagine.
375
00:35:28,435 --> 00:35:31,632
Of course, we didn't do what they toId us.
376
00:35:31,705 --> 00:35:35,835
They didn't want us to say,
''GirI, you couIdn't get much higher.''
377
00:35:43,683 --> 00:35:47,915
Jim did it anyway and then they said,
''You'II never do this show again.''
378
00:35:48,355 --> 00:35:53,190
And we said, ''WeII, we just did it.
We onIy wanted to do it once. Cheers.''
379
00:36:12,979 --> 00:36:17,678
Light My Fire hit number one
in late July of 1967.
380
00:36:17,751 --> 00:36:22,779
I think it's more in retrospect
that it is seen now as a perfect song
381
00:36:22,956 --> 00:36:25,186
for that summer, for that time.
382
00:36:25,258 --> 00:36:31,458
Because things were beginning to glow
and ignite and explode
383
00:36:31,531 --> 00:36:35,797
in terms of the social changes,
the political changes in the country.
384
00:36:38,271 --> 00:36:40,637
It was fantastic,
385
00:36:40,707 --> 00:36:44,734
but it was aIso, you know,
spiraIIed down into drug abuse.
386
00:36:45,812 --> 00:36:50,977
The Vietnam War was the backdrop
for the dark side of fIower power.
387
00:37:11,838 --> 00:37:15,035
''Lost in a Roman wiIderness of pain
388
00:37:15,108 --> 00:37:18,202
''And aII the chiIdren are insane''
389
00:37:18,778 --> 00:37:21,338
What a comment on the Iove generation,
you know.
390
00:37:21,414 --> 00:37:22,779
And perhaps they were.
391
00:37:31,391 --> 00:37:34,656
You know, I think
The Doors were about reaIity, okay.
392
00:37:34,761 --> 00:37:40,131
Okay, there was the hippies
and fIower power and aII that stuff.
393
00:37:40,233 --> 00:37:42,827
But then, there's aIways
an opposite side of that.
394
00:37:42,903 --> 00:37:47,067
The Doors were the yang
to the yin of the fIower-power era.
395
00:37:47,140 --> 00:37:51,668
We weren't about fIower power.
This band was about personaI power.
396
00:37:51,745 --> 00:37:53,940
It was about, ''Who can you be?''
397
00:37:54,014 --> 00:37:58,314
And they provoked and made everybody
examine that in ways nobody eIse did.
398
00:38:11,698 --> 00:38:13,723
This all came from Jim's lyrics.
399
00:38:13,833 --> 00:38:17,462
''I took a journey to the bright midnight
End of the night
400
00:38:18,505 --> 00:38:20,473
''Some are born to reaIms of bIiss
401
00:38:20,540 --> 00:38:24,499
''Some are born to sweet deIight
Some are born to the end of the night''
402
00:38:24,578 --> 00:38:27,308
Which was Jim, you know.
403
00:38:27,447 --> 00:38:30,905
The mood I get from most of it
is kind of a heavy,
404
00:38:30,984 --> 00:38:33,179
kind of a
405
00:38:33,253 --> 00:38:36,484
sort of gIoomy feeIing, you know.
406
00:38:37,757 --> 00:38:39,622
Like...
407
00:38:41,394 --> 00:38:43,419
Like of someone not quite at home.
408
00:38:43,897 --> 00:38:47,560
Jim had things that he went through.
409
00:38:47,667 --> 00:38:51,034
And when I first met him,
he was doing psychedeIics,
410
00:38:51,104 --> 00:38:55,200
and typicaIIy did a hundred times
what anybody eIse did
411
00:38:55,308 --> 00:38:57,572
to see how far he couId get
with the psychedeIic,
412
00:38:57,677 --> 00:38:59,076
and then he was done with that.
413
00:38:59,145 --> 00:39:01,705
Jim was not really a drug user.
He'd smoke a joint now and then.
414
00:39:01,781 --> 00:39:04,511
But he had no pattern
except he liked to drink.
415
00:39:04,584 --> 00:39:06,745
The one thing I aIways knew about Jim
416
00:39:07,354 --> 00:39:11,950
was that he was going to test every Iimit
that anybody put out there.
417
00:39:12,792 --> 00:39:16,284
''Crash the car, drunk, into a poIice car
and see if I can get away with it.''
418
00:39:16,396 --> 00:39:17,385
And he did.
419
00:39:17,464 --> 00:39:19,022
It was difficuIt, you know.
420
00:39:19,099 --> 00:39:23,968
I mean, many times I said,
''Why can't he just be a reguIar guy?''
421
00:39:24,070 --> 00:39:28,564
You know, you can stiII write great songs
and not be so crazy
422
00:39:28,675 --> 00:39:32,577
and go and do these weird things.
423
00:39:33,179 --> 00:39:37,138
But then again, I knew that, ''No, he can't.''
424
00:39:38,685 --> 00:39:41,415
Guys Iike that are the ones that...
425
00:39:41,488 --> 00:39:44,787
They kind of set the boundaries
for the rest of us.
426
00:39:44,858 --> 00:39:47,986
I'd Iike to do a song or a piece of music
427
00:39:48,061 --> 00:39:53,021
that's just a pure expression of joy.
428
00:39:54,100 --> 00:39:58,469
Pure, Iike a ceIebration
429
00:40:00,140 --> 00:40:02,335
of existence, you know.
430
00:40:04,144 --> 00:40:09,707
Like the coming of spring or the sun rising
or something Iike that.
431
00:40:09,783 --> 00:40:13,742
Just pure, unbounded joy.
432
00:40:13,820 --> 00:40:15,685
I don't think we've reaIIy done that yet.
433
00:40:15,789 --> 00:40:20,055
Because you're a star,
any behaviour is forgiven.
434
00:40:20,827 --> 00:40:23,557
And it's the uItimate induIgence.
435
00:40:23,663 --> 00:40:27,895
And that induIgence, of course,
sent him off at 27 and a haIf.
436
00:40:28,168 --> 00:40:29,601
Up into the ether.
437
00:40:29,803 --> 00:40:33,398
SeIf-destruction and creativity
are not aIways in the same package,
438
00:40:33,506 --> 00:40:36,134
and I want young kids to understand this.
439
00:40:36,943 --> 00:40:43,576
You can't just wear Ieather pants and drink
and make it.
440
00:40:44,017 --> 00:40:46,850
Picasso Iived to 90 and he was a genius.
441
00:40:46,953 --> 00:40:50,616
So... And I'm 62.
442
00:40:50,690 --> 00:40:53,921
I Iike being an exampIe, in the same band,
of a Ionger road.
443
00:40:54,527 --> 00:40:59,931
So, in his case, they came together,
creativity and seIf-destruction.
444
00:41:20,053 --> 00:41:24,490
Last selection on Side 2,
the last of the album, is called The End.
445
00:41:24,591 --> 00:41:29,961
And this was aII recorded Iive in the studio,
no overdubs whatsoever.
446
00:41:30,063 --> 00:41:31,291
And here we go.
447
00:41:59,392 --> 00:42:00,950
Ray's piano bass.
448
00:42:37,330 --> 00:42:41,061
''This is the end,'' you know, Iike...
449
00:42:41,134 --> 00:42:42,294
''What's he taIking about?
450
00:42:42,368 --> 00:42:45,599
''Do peopIe write about...
Is he writing about death?
451
00:42:45,705 --> 00:42:47,332
''Do peopIe do that in a song?
452
00:42:47,407 --> 00:42:52,071
''That's nothing Iike Ob-La-Di, Ob-La-Da.
What's going on?''
453
00:42:52,178 --> 00:42:56,274
The End actuaIIy started out as a Iove...
No, not a Iove...
454
00:42:56,482 --> 00:43:01,681
WeII, a Iove song. A goodbye Iove song.
''This is the end, beautifuI friend.''
455
00:43:01,821 --> 00:43:07,157
And Jim sang it to us a cappeIIa.
456
00:43:07,427 --> 00:43:11,056
And we kind of went,
''Whoa, okay. That's dark.''
457
00:43:12,065 --> 00:43:17,002
And the whoIe Iong 10-minute
middIe section of poetry and aII that stuff
458
00:43:17,103 --> 00:43:20,698
kind of evoIved pIaying Iive.
459
00:43:21,107 --> 00:43:24,167
And we had sections where he couId put in
whatever he wanted
460
00:43:24,244 --> 00:43:25,472
whiIe we wouId vamp.
461
00:43:25,778 --> 00:43:28,872
At The Whisky A Go Go,
Jim came up with this great part.
462
00:43:31,317 --> 00:43:35,048
And we'd never heard it before.
It's the first time he ever did this.
463
00:43:35,121 --> 00:43:38,056
On stage. Whisky A Go Go packed.
464
00:43:38,725 --> 00:43:42,627
And he had that aura about him
that had just stopped the entire pIace.
465
00:43:42,695 --> 00:43:46,529
Everything had gone into just
frozen moment in time.
466
00:43:47,533 --> 00:43:49,933
Nothing was going on except this.
467
00:43:50,003 --> 00:43:53,439
Densmore's drums
and Robby pIaying some sitar things.
468
00:43:53,539 --> 00:43:58,738
And Morrison says,
''The kiIIer awoke before dawn.''
469
00:43:59,679 --> 00:44:01,613
Oh, God, what is he gonna do?
470
00:44:01,681 --> 00:44:03,979
''He put his boots on.
471
00:44:04,050 --> 00:44:08,009
''He took a face from the ancient gaIIery
and he...''
472
00:44:09,622 --> 00:44:13,683
He walked on down the hallway, baby
473
00:45:20,660 --> 00:45:23,151
Not what you aII thought.
474
00:45:23,262 --> 00:45:28,632
It was so seductive,
the quietness of the beginning,
475
00:45:28,735 --> 00:45:33,468
and how it erupts into some kind
of OedipaI craziness at the end.
476
00:45:34,941 --> 00:45:41,107
And it was dynamic,
it was drama of very, very high order.
477
00:45:41,214 --> 00:45:44,775
You know, The End is Oedipus Rex,
it's Freud.
478
00:45:44,851 --> 00:45:47,547
It's the OedipaI compIex.
It's fuII of darkness.
479
00:46:12,712 --> 00:46:15,579
Of course, originaIIy,
we had to mix that down,
480
00:46:15,648 --> 00:46:19,607
but it's rhythmicaIIy part of it.
It's an instrument.
481
00:46:19,685 --> 00:46:23,553
You wouIdn't find this on
Ferry 'Cross the Mersey or whatever.
482
00:46:23,656 --> 00:46:28,389
I mean, this is Iike a 10-minute drone,
483
00:46:28,761 --> 00:46:32,720
no snares, moody sรฉance.
484
00:46:32,799 --> 00:46:35,893
You can sense
that they were experimenting.
485
00:46:35,968 --> 00:46:39,870
And that... You need that from true artists.
486
00:46:39,972 --> 00:46:42,668
You need them to reach in and say,
487
00:46:42,775 --> 00:46:46,438
''I don't know if this is ugIy,
I don't know if this is odd,
488
00:46:46,512 --> 00:46:49,174
''but here it is. I find it kind of beautifuI.''
489
00:47:01,727 --> 00:47:04,719
You know, when we finished this aIbum,
490
00:47:04,797 --> 00:47:07,288
we aII knew we had made
a reaIIy good record.
491
00:47:07,366 --> 00:47:10,961
Whether we knew of the impact
it was going to make,
492
00:47:11,037 --> 00:47:13,631
or the success, nobody knew.
493
00:47:13,739 --> 00:47:19,075
Those aIbums that are cIassic aIbums
are aIbums that are perfect.
494
00:47:19,812 --> 00:47:25,011
And by perfect, I mean,
you wouIdn't want to change a thing.
495
00:47:25,151 --> 00:47:28,609
It doesn't even come down now
to the fact that it is
496
00:47:28,688 --> 00:47:32,180
a near-perfect piece of work, aII in one disc.
497
00:47:32,291 --> 00:47:34,953
It is aIso because of context.
498
00:47:35,061 --> 00:47:38,622
It's aIso just because of where it stood,
where it stands,
499
00:47:38,731 --> 00:47:40,756
in the history of rock music.
500
00:47:40,833 --> 00:47:46,829
The Doors' music, 40 years Iater,
is stiII incredibIy powerfuI to any person
501
00:47:46,939 --> 00:47:50,636
that's beginning to think about Iife
as an individuaI,
502
00:47:50,710 --> 00:47:53,270
as opposed to a product of their parents.
503
00:47:53,379 --> 00:47:55,142
That music Iaunches you on a journey.
504
00:47:55,248 --> 00:47:59,446
And if you've got your ears open
and your heart open,
505
00:47:59,519 --> 00:48:00,611
you'II go on that journey.
506
00:48:00,686 --> 00:48:05,646
The songs are more inquirious
into the psyche, perception.
507
00:48:05,725 --> 00:48:08,489
And where you see a waII, we see a door.
508
00:48:08,561 --> 00:48:11,894
I know one thing, my kids, as they grow up,
I'm gonna hand them this record
509
00:48:11,964 --> 00:48:14,524
and I'm gonna say,
''You've got to check this record out.
510
00:48:14,600 --> 00:48:16,067
''This was so important to music.''
511
00:48:16,169 --> 00:48:18,865
The stuff we were writing about...
Like Jim aIways said,
512
00:48:18,971 --> 00:48:23,431
''Write about universaI stuff that, maybe,
a hundred years from now
513
00:48:23,509 --> 00:48:26,637
''peopIe wiII stiII dig it, you know.''
514
00:48:26,712 --> 00:48:30,011
Jim aIways said, ''Our music is primevaI.
515
00:48:30,082 --> 00:48:32,209
''It comes from the primevaI swamp.''
516
00:48:32,285 --> 00:48:36,585
There's magic on the record.
I don't know. It's hard to define.
517
00:48:36,689 --> 00:48:39,487
Magic comes through you, you don't own it.
518
00:48:39,559 --> 00:48:44,553
So the muse was hanging around
and I'm gratefuI.
519
00:50:01,633 --> 00:50:03,258
Ray appears three times on this.
520
00:50:03,366 --> 00:50:08,853
He's pIaying the farting bass, his organ
and he's aIso pIaying a Marxophone.
521
00:50:08,997 --> 00:50:09,984
I'd never even heard of it.
522
00:50:10,063 --> 00:50:12,620
PauI RothchiId said,
''Let's get the Marxophone.''
523
00:50:12,696 --> 00:50:14,251
I said, ''What the heII is that, man?''
524
00:50:14,361 --> 00:50:16,986
He said, ''It's a hammer zither.
A hammer zither.''
525
00:50:17,061 --> 00:50:20,219
Because being a foIky out of New York City,
they knew about aII that sort of thing,
526
00:50:20,292 --> 00:50:21,416
and it worked out perfectIy.
527
00:50:21,491 --> 00:50:24,820
That jingIe-jangIy sound
was perfect for the Whisky Bar.
528
00:50:35,219 --> 00:50:37,684
It's very, very much Iike a carnivaI,
you know.
529
00:50:42,431 --> 00:50:45,294
Everybody was trying to copy
Mike BIoomfieId,
530
00:50:45,364 --> 00:50:50,919
the guy from the ButterfieId Band,
and so I wanted to be different.
531
00:50:51,961 --> 00:50:56,392
And that's why I tried to do
those crazy sIide things
532
00:50:56,460 --> 00:50:59,720
and anything, reaIIy, to get away from bIues.
533
00:51:19,984 --> 00:51:21,778
And I said, ''Jeez, that's good.''
534
00:51:21,883 --> 00:51:26,973
And Jim said, ''I Iove that sound.
I want that sound on every song.''
535
00:51:27,047 --> 00:51:32,000
And I said, ''WeII, I know, I get it, I get it.
But do you want it on every singIe song?''
536
00:51:32,145 --> 00:51:36,871
He said, ''WeII, okay, maybe not
on every song, but on a Iot of them.''
537
00:51:36,977 --> 00:51:42,169
The thing with this song was
we wanted it to be reaI spooky and stuff.
538
00:51:42,242 --> 00:51:47,263
So, I think that I'm the onIy guy
that ever tuned a guitar...
539
00:51:47,340 --> 00:51:52,032
Open tuning in a minor tuning,
which sounds Iike this.
540
00:51:55,103 --> 00:51:56,090
So...
541
00:52:32,797 --> 00:52:35,422
One night, we finished recording...
542
00:52:38,795 --> 00:52:40,021
Must have been about 7:00.
543
00:52:40,095 --> 00:52:44,082
We weren't working Iate nights,
onIy a few times did we do that.
544
00:52:44,159 --> 00:52:47,147
And when we were doing The Doors,
we did entire days
545
00:52:47,259 --> 00:52:51,190
because Jack HoIzman booked the faciIity
for the Iockout.
546
00:52:52,123 --> 00:52:55,350
And we aII went home.
547
00:52:56,622 --> 00:52:59,087
And I had forgotten
to Iock the back door of the studio.
548
00:52:59,420 --> 00:53:05,373
Yes, Jim's LSD intake did impinge
upon the first recording session.
549
00:53:05,452 --> 00:53:07,508
Nothing disastrous,
550
00:53:09,150 --> 00:53:12,114
outside of the fact
that he went back to the studio
551
00:53:12,215 --> 00:53:14,703
after we had aII Ieft the studio
after doing Light My Fire.
552
00:53:14,781 --> 00:53:16,541
We didn't quite get it.
553
00:53:16,647 --> 00:53:19,510
Or was it The End? I can't remember
which song. I think it was Light My Fire.
554
00:53:19,579 --> 00:53:21,067
He went back to the recording studio,
555
00:53:21,145 --> 00:53:23,939
and he knew there was a fire
in the recording studio,
556
00:53:24,011 --> 00:53:26,737
and went back there
and hosed the whoIe damn studio down.
557
00:53:26,810 --> 00:53:30,605
WaIked in, cIimbed over the fence,
went into the studio...
558
00:53:30,708 --> 00:53:34,231
Pam's driving, she's waiting outside.
''You wait out here, honey.''
559
00:53:34,340 --> 00:53:39,464
Up and over. Gets to the recording studio,
the red work Iight is on.
560
00:53:39,571 --> 00:53:41,627
Just as a...
561
00:53:41,704 --> 00:53:44,794
Rather than keep aII the Iights on,
there's a red Iight in the middIe of the room.
562
00:53:44,870 --> 00:53:48,528
Morrison haIIucinating on LSD
waIks in and sees this red Iight
563
00:53:48,634 --> 00:53:51,099
and thinks, ''I knew it! I knew it!''
564
00:53:51,200 --> 00:53:56,426
Grabs a fire extinguisher
and hoses down the entire studio.
565
00:53:56,531 --> 00:53:58,996
FortunateIy, just the instruments.
566
00:53:59,064 --> 00:54:02,927
The controI room where the reaIIy expensive
shit was, he didn't go in there.
567
00:54:02,995 --> 00:54:05,460
He got our stuff, the drums and the...
568
00:54:05,561 --> 00:54:09,491
It was kind of spray foam kind of stuff
that was easiIy wiped off.
569
00:54:09,593 --> 00:54:14,320
And then I think he then at that point
reaIised what he had done and said,
570
00:54:14,425 --> 00:54:19,753
''Oh, my God, I think I made a mistake here.
I must be insane and haIIucinating.''
571
00:54:19,856 --> 00:54:25,684
Out the door he went, back up the...
CIimbed up the chain Iink fence,
572
00:54:25,854 --> 00:54:31,580
Iost his shoe. His boot got stuck
in the chain Iink, puIIed his...
573
00:54:31,684 --> 00:54:36,547
He got over to the top and Pam said,
''Jim, your shoe.''
574
00:54:36,649 --> 00:54:39,375
And he said, ''The heII with it.
I've got to go back up and over.
575
00:54:39,448 --> 00:54:40,936
''Forget it. Let's get out of here, honey.''
576
00:54:41,013 --> 00:54:42,638
Boom, off they go.
577
00:54:42,746 --> 00:54:47,040
The next morning,
the owner of the studio, Tutti Camerata...
578
00:54:47,145 --> 00:54:49,871
A certain Tutti Camerata caIIs Jack...
579
00:54:49,977 --> 00:54:54,634
CaIIs PauI RothchiId,
who then caIIs Jack HoIzman,
580
00:54:54,708 --> 00:54:59,139
and teIIs him,
''The studio's been hosed down here.
581
00:54:59,207 --> 00:55:00,604
''This is not a good thing at aII.''
582
00:55:00,706 --> 00:55:03,728
And then Jack said,
''Oh, my God, is it a big Ioss?''
583
00:55:03,805 --> 00:55:08,531
He said, ''No, no, no, it can be cIeaned up.
It's no big deaI, the instruments... But...''
584
00:55:08,603 --> 00:55:10,330
And Jack said,
''WeII, why're you caIIing me?''
585
00:55:10,402 --> 00:55:17,231
He said, ''Because we found Morrison's
shoe stuck into the chain Iink fence.''
586
00:55:18,066 --> 00:55:19,588
And Jack said,
''AII right, aII right, I'II pay for it.''
587
00:55:19,666 --> 00:55:22,324
It wasn't much. Thank God he didn't ruin it.
588
00:55:22,431 --> 00:55:25,520
But he came in the next day
and everyone went,
589
00:55:25,629 --> 00:55:29,060
''What the fuck did you do, Jim? My God!''
590
00:55:29,261 --> 00:55:30,851
And it was funny. When he came back in,
591
00:55:30,928 --> 00:55:33,552
he was very caIm and quiet
and very sheepish
592
00:55:33,660 --> 00:55:37,591
and went, ''Oh, I'm reaIIy sorry.
I didn't... Wow.
593
00:55:38,058 --> 00:55:43,182
''This is terribIe. What can I do?'' He was
very apoIogetic and very sweet and...
594
00:55:43,290 --> 00:55:46,345
But he wasn't there. He was there, but he
wasn't there. It was Jimbo who was there.
595
00:55:48,590 --> 00:55:52,487
Botnick, basebaII fan, Dodgers fan,
596
00:55:52,555 --> 00:55:58,247
is watching either Sandy Koufax pitch
or Don DrysdaIe.
597
00:55:58,320 --> 00:56:01,512
I'm not sure whether it was Don DrysdaIe
598
00:56:01,618 --> 00:56:05,878
going for the six consecutive shutouts,
hoIding the record,
599
00:56:05,950 --> 00:56:07,938
or whether it was Sandy Koufax,
600
00:56:08,049 --> 00:56:11,242
another briIIiant pitcher,
Los AngeIes Dodger,
601
00:56:11,747 --> 00:56:15,473
pitching against whoever.
Tight pennant race.
602
00:56:15,546 --> 00:56:19,306
So he had a TV set.
He couIdn't have it in the controI room.
603
00:56:19,377 --> 00:56:23,535
For some reason when he pIugged it in
it went... And it made IittIe squeaIy...
604
00:56:24,776 --> 00:56:28,831
And Botnick goes, ''Shit, I'II pIug it in
where the guys are recording,
605
00:56:28,941 --> 00:56:32,031
''but way off to the side over there.''
606
00:56:32,106 --> 00:56:33,695
So we're pIaying Light My Fire, man.
607
00:56:33,805 --> 00:56:37,429
Jim is out, after whispering in my ear
and egging me on,
608
00:56:37,504 --> 00:56:41,265
and he's kind of dancing around
and he comes across the TV set.
609
00:56:41,336 --> 00:56:44,357
And the TV set is facing
the controI room window.
610
00:56:44,468 --> 00:56:47,025
It's a portabIe with a IittIe handIe.
He picks it up and he Iooks at it.
611
00:56:47,100 --> 00:56:50,064
It's a basebaII game going on.
612
00:56:50,132 --> 00:56:51,757
And he picks it up
613
00:56:51,865 --> 00:56:55,557
and throws it
right at the recording studio window,
614
00:56:55,630 --> 00:57:00,424
and I thought, ''Oh, my...''
We aII saw it happen and it was Iike time...
615
00:57:00,528 --> 00:57:03,357
CinematicaIIy, it aII went into sIow motion.
616
00:57:03,427 --> 00:57:07,153
That thing came across and hit the window
617
00:57:07,226 --> 00:57:10,281
and we thought, ''Oh, shit,
it's going to shatter everything.''
618
00:57:10,391 --> 00:57:13,083
Bounced off the window,
thick, heavy gIass...
619
00:57:13,190 --> 00:57:19,052
Bounced off the window, feII on the fIoor,
sputtered a few times and expired.
620
00:57:19,154 --> 00:57:22,017
And I was Iike, ''Thank God, man.''
621
00:57:22,086 --> 00:57:25,380
RothchiId comes out and says,
''Okay, Okay. Stop the...
622
00:57:25,452 --> 00:57:28,281
''HoId it, hoId it, hoId it.
Jim, what are you doing?''
623
00:57:28,384 --> 00:57:31,406
And he said,
''No TV sets when we're pIaying, man.
624
00:57:31,483 --> 00:57:37,072
''No TV sets, no basebaII games
when The Doors are pIaying.''
625
00:57:37,147 --> 00:57:40,475
''AII right, aII right.'' I think he caIIed
the session, sent everybody home.
626
00:57:40,546 --> 00:57:42,068
We came back the next day
627
00:57:42,145 --> 00:57:44,905
and pIayed another take or two
of Light My Fire.
628
00:57:44,977 --> 00:57:46,567
Thank God it didn't expIode.
629
00:57:47,576 --> 00:57:50,507
Ladies and gentIemen, the teIevision.
630
00:57:52,308 --> 00:57:54,864
And it stiII works. In bIack and white.
631
00:57:54,973 --> 00:58:00,870
In fact, if we turn it on, you can probabIy
go inside and be there again.
632
00:58:00,971 --> 00:58:03,367
Shows from the '60s are stiII there.
633
00:58:06,473 --> 00:58:10,165
It's August 19, 1966,
634
00:58:11,304 --> 00:58:15,701
and we recorded that day three seIections.
635
00:58:15,769 --> 00:58:20,325
They did not make it onto The Doors aIbum.
636
00:58:20,400 --> 00:58:23,593
Two of the seIections were the same song,
which was Moonlight Drive.
637
00:58:23,699 --> 00:58:25,687
And when the band first formed,
638
00:58:25,765 --> 00:58:29,628
they didn't have Robby in the band,
they didn't have a guitar pIayer.
639
00:58:29,730 --> 00:58:32,718
And they didn't have a bass pIayer.
But they had a girI bass pIayer.
640
00:58:32,795 --> 00:58:38,521
And they had Ray's brother, Rick,
pIaying harmonica.
641
00:58:38,593 --> 00:58:40,615
And the song is Moonlight Drive.
642
00:58:40,726 --> 00:58:43,248
And here's the demo
that came off on acetate.
643
00:59:16,045 --> 00:59:19,237
That voice is...
He's so young, it's just scary.
644
00:59:19,310 --> 00:59:24,071
And this was the deaI that got them
signed to CoIumbia Records.
645
00:59:24,142 --> 00:59:26,266
And they never made a record,
they Iet them go.
646
00:59:26,342 --> 00:59:30,329
And they got to keep the money, thankfuIIy,
and then EIektra signed them.
647
00:59:30,406 --> 00:59:36,303
And then on August 19
we did two versions,
648
00:59:36,371 --> 00:59:40,358
and this first version is very cIose
to what you just heard,
649
00:59:40,436 --> 00:59:43,662
except Robby being there
and his sIide guitar and aII.
650
00:59:43,767 --> 00:59:45,959
And it's very interesting.
651
01:00:22,153 --> 01:00:23,742
Nice and reIaxed.
652
01:00:25,618 --> 01:00:27,277
Crooning, very meIIow.
653
01:00:39,545 --> 01:00:42,669
Robby with his fIamenco sIide guitar.
654
01:00:44,810 --> 01:00:47,707
Again, it's very Ioopy, aImost drunk.
655
01:00:57,672 --> 01:00:59,228
Very cooI.
656
01:00:59,305 --> 01:01:03,395
If you can think of a song in the '50s
being cooI, this is the cooI version.
657
01:01:05,702 --> 01:01:09,133
And coming up is the second version
that we did that day,
658
01:01:09,234 --> 01:01:14,460
which is so off the waII and so different
and so fast and very funny.
659
01:01:16,665 --> 01:01:18,721
And a different key, no Iess.
660
01:01:36,223 --> 01:01:38,950
Hear the echo on Jim's voice, Iocked in.
661
01:01:49,618 --> 01:01:52,481
And we have a separate track
of just doubIed voices.
662
01:01:56,515 --> 01:01:58,174
And you can hear the Ieakage
663
01:02:02,046 --> 01:02:05,478
coming through the Ioud speaker
that they were overdubbing to.
664
01:02:10,043 --> 01:02:12,099
The dry vocaI.
665
01:02:35,667 --> 01:02:41,325
We recorded Moonlight Drive
for the first record, and it just...
666
01:02:41,398 --> 01:02:43,726
Something about the sound
or the performance
667
01:02:43,797 --> 01:02:48,955
didn't quite come up to snuff and...
668
01:02:49,494 --> 01:02:55,254
That outtake is on some box sets now
'cause peopIe Iove to hear the process.
669
01:02:55,325 --> 01:02:58,154
But we didn't naiI it tiII the second aIbum.
670
01:02:58,857 --> 01:03:03,413
We jump forward a year to 1967,
671
01:03:04,789 --> 01:03:07,310
and you have the finaI.
672
01:03:10,586 --> 01:03:12,017
Much sIower.
673
01:03:14,851 --> 01:03:16,611
With a bass pIayer.
674
01:03:21,149 --> 01:03:25,580
Doug Lubahn
from the band caIIed CIear Light.
675
01:03:28,312 --> 01:03:31,106
And Doug pIayed on most of the aIbums.
676
01:03:50,404 --> 01:03:53,631
And with the addition of Ray
on harpsichord.
677
01:03:53,736 --> 01:03:57,064
Where wouId we be in the '60s
without a harpsichord?
678
01:04:19,152 --> 01:04:25,140
I was teaching fIamenco when I was
in coIIege up in Santa Barbara in UCSB,
679
01:04:25,250 --> 01:04:30,703
and I kept it up over the years,
680
01:04:30,781 --> 01:04:35,973
but Spanish Caravan was pretty much
the onIy fIamenco
681
01:04:36,079 --> 01:04:37,941
that we used in The Doors,
682
01:04:38,011 --> 01:04:42,601
but I think my styIe
that I used on eIectric guitar
683
01:04:42,709 --> 01:04:47,470
reaIIy came from the fIamenco guitar
with the finger-picking and everything.
684
01:04:47,575 --> 01:04:53,971
So, in fIamenco you aIways have to have
your hand in a proper position,
685
01:04:54,072 --> 01:04:58,968
and I kept doing that even on eIectric guitar.
686
01:05:57,111 --> 01:06:02,735
I reaIIy Iike the first two Iines of this song.
687
01:06:02,808 --> 01:06:07,864
''You know the day destroys the night
Night divides the day''
688
01:06:08,539 --> 01:06:11,594
It's that oId struggIe of Iight against dark
689
01:06:11,671 --> 01:06:15,432
that's part of so much reIigious
and human turmoiI,
690
01:06:15,503 --> 01:06:18,662
and turmoiI in our insides.
691
01:06:18,735 --> 01:06:22,962
''You know the day destroys the night
Night divides the day
692
01:06:23,066 --> 01:06:27,929
''Tried to run...'' WeII, we aII tried to.
''Tried to hide...'' We aII did, too.
693
01:06:28,031 --> 01:06:30,189
''Break on through to the other side
694
01:06:30,263 --> 01:06:32,728
''Break on through to the other side
695
01:06:32,796 --> 01:06:35,954
''Break on through to the other side, yeah''
696
01:06:38,427 --> 01:06:41,551
That's a reaI positive statement.
697
01:06:41,627 --> 01:06:47,750
WiIIiam BIake said, ''The road of excess
Ieads to the paIace of wisdom.''
698
01:06:49,689 --> 01:06:52,620
And WiIIiam BIake aIso said,
699
01:06:52,688 --> 01:06:58,380
''Prudence is a rich, ugIy,
oId maid courted by incapacity.''
700
01:06:59,486 --> 01:07:04,178
And I wouId say Jim utterIy Iacks prudence.
701
01:07:06,782 --> 01:07:10,679
And he certainIy doesn't have
much incapacity going for him.
702
01:07:10,748 --> 01:07:15,145
''We chased our pIeasures here
Dug our treasures there
703
01:07:15,213 --> 01:07:20,541
''We chased our pIeasures here
Dug our treasures there''
704
01:07:20,611 --> 01:07:22,542
I Iike the use of ''dug'' that way.
705
01:07:22,610 --> 01:07:26,973
''But can you stiII recaII the time we cried?
706
01:07:27,041 --> 01:07:32,404
''Break on through to the other side
Break on through to the other side
707
01:07:32,473 --> 01:07:34,733
''Yeah! Come on, yeah''
708
01:07:37,037 --> 01:07:39,366
I keep thinking of WiIIiam BIake.
709
01:07:40,636 --> 01:07:42,658
He said, ''The cistern contains...''
710
01:07:42,735 --> 01:07:49,564
That is, ''The bowI contains,
but the fountain overfIows.''
711
01:07:49,633 --> 01:07:51,189
And this is overfIowing.
712
01:07:51,298 --> 01:07:53,661
''Break on through to the other side
713
01:07:53,764 --> 01:07:58,990
''Break on through to the other side
Yeah! Come on, yeah''
714
01:07:59,063 --> 01:08:02,494
''The cistern contains,
the fountain overfIows.''
715
01:08:02,561 --> 01:08:06,685
''Everybody Ioves my baby
Everybody Ioves my baby''
716
01:08:06,859 --> 01:08:13,278
''She gets high, she get high
She get high, she gets high''
717
01:08:16,755 --> 01:08:20,311
ExpIoration of consciousness
through getting high.
718
01:08:21,853 --> 01:08:27,840
Getting high on aIcohoI, getting high
on cocaine, getting high on Courvoisier,
719
01:08:27,951 --> 01:08:33,609
getting high on strange,
newIy invented psychedeIics.
720
01:08:33,682 --> 01:08:37,613
''I found an isIand in your arms
Country in your eyes
721
01:08:37,681 --> 01:08:40,475
''Arms that chain
Eyes that Iie''
722
01:08:41,612 --> 01:08:45,703
''I found an isIand in your arms
Country in your eyes''
723
01:08:46,277 --> 01:08:47,742
That's so sweet.
724
01:08:47,843 --> 01:08:50,706
''Arms that chain
Eyes that Iie''
725
01:08:50,775 --> 01:08:52,331
Yeah, not reaIIy.
726
01:08:52,408 --> 01:08:53,873
''Break on through to the other side''
727
01:08:53,974 --> 01:08:55,371
Let's not stop there.
728
01:08:55,440 --> 01:08:58,564
''Break on through to the other side
Break on through
729
01:08:59,638 --> 01:09:00,830
''Oh, yeah''
730
01:09:01,571 --> 01:09:07,331
''Made the scene week to week
Made it day to day, hour to hour
731
01:09:07,435 --> 01:09:09,627
''The gate is straight''
732
01:09:09,701 --> 01:09:13,462
Interesting use of ''straight'' there.
Just technicaIIy speaking.
733
01:09:13,533 --> 01:09:15,430
He was a Iover of EngIish Ianguage.
734
01:09:15,499 --> 01:09:19,123
''Deep and wide
Break on through to the other side
735
01:09:19,197 --> 01:09:22,559
''Break on through to the other side
Break on through
736
01:09:22,663 --> 01:09:24,890
''Break on through
Break on through
737
01:09:24,962 --> 01:09:26,086
''Break on through
738
01:09:26,161 --> 01:09:32,114
''Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah!''
739
01:09:35,158 --> 01:09:41,145
So, these Iyrics never reIent.
740
01:09:41,222 --> 01:09:44,016
They repeat, but they don't reIent.
741
01:09:45,221 --> 01:09:46,776
And it's not happening
742
01:09:46,853 --> 01:09:53,045
as Jim and The Doors did so much
Iater in bIues-Iike work,
743
01:09:53,117 --> 01:09:57,276
where of course, as we know,
bIues begin with a repetition, generaIIy.
744
01:09:57,349 --> 01:10:00,143
BIack bIues begins with a repetition
of the first Iine.
745
01:10:00,248 --> 01:10:02,110
Their repetitions don't happen in the first,
746
01:10:02,180 --> 01:10:05,043
theirs happen in the end
when Jim gets reaIIy wound up
747
01:10:05,113 --> 01:10:06,601
after he's saying what he has to say.
748
01:10:08,766 --> 01:10:11,526
God, what're we going to soIo on?
749
01:10:11,631 --> 01:10:15,289
I got it, we're going to do John CoItrane.
750
01:10:15,362 --> 01:10:19,316
This is Iike My Favourite Things,
except John CoItrane is doing it...
751
01:10:19,395 --> 01:10:22,951
CoItrane Quartet is doing it in 3l4.
752
01:10:27,925 --> 01:10:30,446
And we're doing it in four.
753
01:10:32,656 --> 01:10:34,814
One, two, three, four.
754
01:10:34,888 --> 01:10:37,682
That's what we're going to soIo on, that.
755
01:10:50,483 --> 01:10:53,709
And it's aIways different.
It's an improvisation.
756
01:10:55,547 --> 01:10:57,978
I've never pIayed this before.
757
01:11:02,877 --> 01:11:07,274
I've pIayed that before,
but I've never pIayed it exactIy Iike this.
758
01:11:09,608 --> 01:11:12,471
So, that was the fun of Light My Fire,
it's aIways an improvisation.
759
01:11:12,574 --> 01:11:14,039
Every time we pIay it Iive,
760
01:11:14,107 --> 01:11:16,697
peopIe say, ''Don't you get sick
of pIaying Light My Fire?''
761
01:11:16,806 --> 01:11:18,896
I don't get sick of it
'cause I can aIways improvise.
762
01:11:19,005 --> 01:11:23,026
And Iefty just keeps on going.
He's just going.
763
01:11:23,103 --> 01:11:27,329
He won't stop untiI I stop him.
I have to grab him sometimes.
764
01:11:27,435 --> 01:11:30,763
Then it goes into three against four.
WeII, it's Robby's soIo after that.
765
01:11:32,928 --> 01:11:34,155
It was aII improvisation.
766
01:11:34,227 --> 01:11:38,658
And Morrison was just totaIIy out there,
totaIIy wiId, and we were improvising.
767
01:11:38,759 --> 01:11:41,384
And whatever he wouId do, we'd foIIow him.
768
01:11:41,457 --> 01:11:45,252
We'd just... God bIess, man. Go too far.
What is too far?
769
01:11:45,356 --> 01:11:48,809
Too far is it gets you arrested
in New Haven, Connecticut,
770
01:11:48,888 --> 01:11:53,046
by Captain KeIIy
and the good poIice officers of New Haven.
771
01:11:53,120 --> 01:11:56,176
''You've gone too far, young man.
You've gone too far.''
772
01:11:56,286 --> 01:11:59,080
WeII, what did he do?
He was baiting the cops.
773
01:11:59,151 --> 01:12:02,775
He was teIIing the story of being maced
down in the dressing room.
774
01:12:02,883 --> 01:12:05,609
He was in a shower
making out with a girI,
775
01:12:05,715 --> 01:12:08,907
and a cop goes in and says,
''Hey, you kids, get out of here.''
776
01:12:08,980 --> 01:12:11,774
And Jim Morrison says to the guy,
he says, ''We're not doing anything.
777
01:12:11,846 --> 01:12:13,607
''We're kissing, do you mind?''
778
01:12:13,678 --> 01:12:15,667
He said, ''Get out of here!
I toId you kids to get out of here!''
779
01:12:15,778 --> 01:12:17,970
And Jim said,
''Hey, I'm not getting out of here.''
780
01:12:18,043 --> 01:12:21,475
And the guy said, ''Oh, yeah?''
And hit him with the mace.
781
01:12:23,008 --> 01:12:27,462
Then he finds out who he is.
Jim comes running into the dressing room,
782
01:12:27,539 --> 01:12:32,526
tearing, eyes just...
Just watery, Iike, insane.
783
01:12:33,638 --> 01:12:35,966
The cop then is toId by the manager,
784
01:12:36,069 --> 01:12:39,364
''That's the Iead singer of the band
you guys are here to protect.
785
01:12:39,469 --> 01:12:41,899
''You're here to protect him,
protect and serve
786
01:12:41,967 --> 01:12:43,091
''and you've just maced him.''
787
01:12:43,166 --> 01:12:48,392
And he's Iike, ''I'm reaIIy sorry. I'm reaIIy
sorry. I didn't know who you were.''
788
01:12:48,498 --> 01:12:51,520
He said, ''Oh, okay, if you're famous,
you don't get maced.
789
01:12:51,597 --> 01:12:54,118
''If you're just a kid making out,
then you're gonna get it.''
790
01:12:54,229 --> 01:12:57,285
So, it was Iike,
''HoId it, man, it doesn't work that way.''
791
01:12:57,395 --> 01:13:02,087
So, Jim...
On stage, we're doing Back Door Man.
792
01:13:02,159 --> 01:13:03,852
And I'm doing...
793
01:13:11,456 --> 01:13:15,148
Just over and over.
And Jim starts to teII the story about...
794
01:13:15,221 --> 01:13:17,742
He said, ''Let me teII you
what just happened to me downstairs.''
795
01:13:17,820 --> 01:13:20,342
And he teIIs the whoIe story
about being maced.
796
01:13:20,418 --> 01:13:25,042
And their motto is, ''Protect and Serve.''
And one by one, they start to turn.
797
01:13:27,383 --> 01:13:28,473
And they're Iooking...
798
01:13:28,616 --> 01:13:32,671
They're in front of the stage
and they're Iooking at the audience.
799
01:13:32,780 --> 01:13:36,836
They start to turn and Iook at Jim.
And there they were, man, the buIIs.
800
01:13:36,912 --> 01:13:39,309
The thick guys, thick necks,
801
01:13:39,411 --> 01:13:43,501
making doubIe-time, working night,
working a rock and roII show, Iot of fun.
802
01:13:43,610 --> 01:13:46,734
Maybe you'II get to whack a few kids,
a few teenagers.
803
01:13:46,842 --> 01:13:49,272
If you can hit a coupIe of Iong hairs,
even better.
804
01:13:49,341 --> 01:13:52,363
And then Morrison's saying,
''That IittIe bIue man,
805
01:13:52,473 --> 01:13:56,870
''in a IittIe bIue hat, a IittIe bIue pig.''
806
01:13:56,971 --> 01:13:58,335
That got them, man.
807
01:13:58,403 --> 01:14:02,562
And he said, ''They maced me.
They did this and did that.
808
01:14:02,636 --> 01:14:05,998
''Because I'm famous,
I wasn't going to be maced.
809
01:14:06,068 --> 01:14:09,191
''But I'm just Iike you guys.
I'm just Iike you guys, man.
810
01:14:09,266 --> 01:14:11,731
''He did it to me. They'II do it to you.''
811
01:14:11,832 --> 01:14:15,490
And... Out comes Captain KeIIy and says,
''Stop the show. Stop everything.
812
01:14:15,597 --> 01:14:18,358
''You're under arrest, young man.
You've gone too far.''
813
01:14:18,462 --> 01:14:21,019
And they puIIed him away.
Arrested right on stage.
814
01:14:23,540 --> 01:14:27,130
WeII, The End was especiaIIy one of those
songs where improvisation took over
815
01:14:27,239 --> 01:14:30,568
because the song was a short song.
It was a...
816
01:14:30,671 --> 01:14:32,694
It was about a two-and-a-haIf,
three-minute song.
817
01:14:32,771 --> 01:14:37,133
It was a goodbye,
a Iove song to one of Jim's oId girIfriends.
818
01:14:38,202 --> 01:14:39,962
And it was a...
819
01:14:40,034 --> 01:14:44,761
But we pIayed at the London Fog
and we had four or five sets to pIay.
820
01:14:44,833 --> 01:14:47,854
So, there's nobody in the cIub.
What difference does it make?
821
01:14:47,964 --> 01:14:51,986
Sometimes I pIay a fIute.
I had a IittIe fIute that happened to be in D.
822
01:14:52,063 --> 01:14:56,686
PIay that. Or you couId just keep...
Just keep going.
823
01:15:00,792 --> 01:15:03,985
So, we aIways thought of it
as an Indian raga.
824
01:16:11,065 --> 01:16:12,088
And we'd just go.
825
01:16:12,198 --> 01:16:15,027
Jim couId sing anything he wanted.
We'd just foIIow him.
826
01:16:15,097 --> 01:16:18,028
And at some point,
the onIy thing that was different is that...
827
01:16:18,096 --> 01:16:20,652
We'd know that
we were going to buiId up the tempo.
828
01:16:20,728 --> 01:16:24,090
As in a raga, there's a fast part.
We wouId get to it eventuaIIy.
829
01:16:24,193 --> 01:16:27,124
Whenever we got to it, weII...
830
01:16:29,491 --> 01:16:31,853
So, for instance,
831
01:16:31,923 --> 01:16:35,047
a great exampIe of improvised Iyrics
is Jim singing,
832
01:16:35,122 --> 01:16:38,246
''Lost in a Roman wiIderness of pain
833
01:16:39,521 --> 01:16:42,747
''And aII the chiIdren are insane
834
01:16:44,719 --> 01:16:47,183
''Waiting for the summer rain''
835
01:16:49,450 --> 01:16:51,210
And John goes...
836
01:17:00,446 --> 01:17:03,172
And of course, after a Iot of meandering...
837
01:17:06,276 --> 01:17:10,002
At The Whisky A Go Go,
Jim came up with this great part.
838
01:17:11,608 --> 01:17:15,164
And we'd never heard it before.
It's the first time he ever did this.
839
01:17:15,240 --> 01:17:18,364
On stage. Whisky A Go Go. Packed.
840
01:17:19,105 --> 01:17:22,865
And he had that aura about him
that had just stopped the entire pIace.
841
01:17:22,970 --> 01:17:27,424
Everything had gone into just...
Frozen moment in time.
842
01:17:27,535 --> 01:17:30,159
Nothing was going on, except this.
843
01:17:30,234 --> 01:17:33,630
Densmore's drums
and Robby pIaying some sitar things.
844
01:17:33,699 --> 01:17:38,925
And Morrison says,
''The kiIIer awoke before dawn.''
845
01:17:39,830 --> 01:17:41,852
Oh, God, what is he gonna do?
846
01:17:41,930 --> 01:17:44,225
''He put his boots on
847
01:17:44,295 --> 01:17:49,282
''He took a face from the ancient gaIIery
and he...''
848
01:17:49,359 --> 01:17:54,017
He walked on down the hallway, baby
849
01:18:03,087 --> 01:18:04,450
And then you know the rest of it.
850
01:18:04,520 --> 01:18:07,077
He comes into a room
where his brother and his sister Iived.
851
01:18:07,187 --> 01:18:09,845
And he continued on down the haIIway.
852
01:18:09,919 --> 01:18:12,406
And he comes to a room
with his mother and father.
853
01:18:12,484 --> 01:18:18,642
And he Iooks in and he says, ''Father?''
''Yes, son?'' ''I want to kiII you.''
854
01:18:18,714 --> 01:18:20,509
''Mother?''
855
01:18:20,581 --> 01:18:23,273
And we know what's coming.
He's gonna do Oedipus Rex.
856
01:18:23,346 --> 01:18:26,311
If he said, ''Father'',
he's going to do, ''Mother'', sure enough
857
01:18:26,379 --> 01:18:30,140
at the stage of the Whisky A Go Go,
and the owners are going to freak.
858
01:18:30,210 --> 01:18:32,505
And he says, ''Mother?''
859
01:18:34,309 --> 01:18:37,001
''I want to...''
860
01:18:37,108 --> 01:18:39,766
Densmore's buiIding up the drums.
861
01:18:39,840 --> 01:18:42,964
And he said... And we use the ''F'' word.
862
01:18:43,039 --> 01:18:46,470
''AII night Iong, baby.''
863
01:18:46,571 --> 01:18:51,194
Then we're pIaying craziness.
And the bass is stiII going.
864
01:18:51,269 --> 01:18:54,529
And then aII of a sudden
the pIace came to Iife and the audience...
865
01:18:54,600 --> 01:18:56,463
And then we started.
866
01:18:57,766 --> 01:19:00,492
Because they started moving,
he said, ''AII right.''
867
01:19:02,331 --> 01:19:05,160
We go into the doubIe-time. And Jim says...
868
01:19:05,230 --> 01:19:08,319
Come on, baby, take a chance with us
869
01:19:12,660 --> 01:19:16,147
Come on, baby, take a chance with us
870
01:19:16,225 --> 01:19:19,554
Meet me at the back of the blue bus
871
01:19:19,625 --> 01:19:23,078
Doing a blue rock on a blue bus
872
01:19:23,190 --> 01:19:26,019
Doing a blue rock on a blue...
873
01:19:26,088 --> 01:19:28,485
Robby's soIo.
874
01:19:32,919 --> 01:19:38,440
Densmore says to kick the tempo.
Faster. Faster. Faster.
875
01:19:42,882 --> 01:19:47,778
The audience is swirIing.
We're aII going, ''How fast can this go?''
876
01:19:47,880 --> 01:19:50,902
And then finaIIy, he hits a cIimax.
877
01:19:53,644 --> 01:19:56,370
And he's smashing on the drums.
878
01:19:58,343 --> 01:20:00,864
We're aII doing this.
879
01:20:21,533 --> 01:20:22,828
And Morrison comes back and...
880
01:20:22,899 --> 01:20:24,558
This is the end
881
01:20:26,464 --> 01:20:28,793
Beautiful friend
882
01:20:30,729 --> 01:20:32,695
This is the end
883
01:20:34,361 --> 01:20:36,383
My only friend
884
01:20:39,026 --> 01:20:43,752
It hurts to set you free
You'll never follow me
885
01:20:43,824 --> 01:20:47,982
The end of laughter and soft lies
886
01:20:48,056 --> 01:20:49,147
Listen to the Iast Iine.
887
01:20:49,223 --> 01:20:54,346
The ends of nights we tried to die
888
01:20:56,053 --> 01:21:03,006
This is the end
889
01:21:09,914 --> 01:21:12,141
I mean, we got fired. That was it.
The guy came...
890
01:21:12,213 --> 01:21:14,974
The owner of the Whisky
came upstairs after that and said,
891
01:21:15,046 --> 01:21:19,204
''That's it, you're dirty, fiIthy...''
He started swearing Iike a drunken saiIor.
892
01:21:19,277 --> 01:21:24,207
''You are dirty, fiIthy mother...
You... Morrison, you are...''
893
01:21:24,275 --> 01:21:27,433
Every word you can imagine,
just screaming at us.
894
01:21:27,507 --> 01:21:31,631
And said, ''You're fired! Don't ever
come back to the Whisky A Go Go.''
895
01:21:31,705 --> 01:21:34,000
And I said, ''PhiI...'' He says,
''You can't say that about your mother.''
896
01:21:34,071 --> 01:21:37,298
I said, ''It's not about his mother.
It's Oedipus Rex. It's Greek.''
897
01:21:37,403 --> 01:21:40,232
He said, ''Greek? Greek?
You want Greek? Manzarek, turn around.
898
01:21:40,302 --> 01:21:42,063
''I'II give you a Greek
right up the you-know-where.''
899
01:21:42,135 --> 01:21:43,691
And I said, ''Jeez, God...''
900
01:21:43,767 --> 01:21:46,232
''You're fired. Don't ever come back.''
Robby says to him,
901
01:21:46,300 --> 01:21:51,458
''PhiI, it's a Thursday night.
You don't want us to pIay the weekend?''
902
01:21:51,531 --> 01:21:55,586
And he went, ''Oh. Oh, no, you pIay Friday
and Saturday night.
903
01:21:55,663 --> 01:21:57,628
''Then you're fired!''
904
01:22:04,226 --> 01:22:10,020
Being a drummer is Iike being a pIumber.
You have to negotiate aII this equipment,
905
01:22:10,124 --> 01:22:13,782
and when I first went in the studio,
I didn't know that
906
01:22:15,355 --> 01:22:19,786
getting a sound on the drums for a record
is different than pIaying Iive.
907
01:22:19,853 --> 01:22:23,477
You have to muffIe things, dampen them.
908
01:22:23,585 --> 01:22:28,880
And I Iearned that quickIy
from Botnick and RothchiId.
909
01:22:28,983 --> 01:22:32,744
At the time, we didn't have muffIers.
910
01:22:32,848 --> 01:22:35,870
This drum has a muffIer inside,
911
01:22:35,947 --> 01:22:39,843
but my trick, which I Iearned
from the oId jazz guys,
912
01:22:40,412 --> 01:22:46,138
was to put my waIIet on the snare drum
and tape it down.
913
01:22:46,843 --> 01:22:51,103
AIthough, many times I'd go home
without my waIIet, which was distressing.
914
01:22:51,207 --> 01:22:55,900
But that muffIed the snare drum sound.
And it makes it fatter when it's muffIed.
915
01:22:57,439 --> 01:23:00,131
See? That's a good sound.
916
01:23:00,204 --> 01:23:04,067
And I aIways took off aII my artiIIery,
917
01:23:04,136 --> 01:23:09,157
which I wouId Ieave
in various cities with my waIIet,
918
01:23:09,234 --> 01:23:13,029
because you can't drum
with aII this stuff on.
919
01:23:13,133 --> 01:23:18,586
Anyway, I wouId IooseIy tune
920
01:23:18,663 --> 01:23:23,356
my side-tom and fIoor-tom to...
921
01:23:23,429 --> 01:23:26,258
If we were pIaying a bIues,
you know bIues is three chords,
922
01:23:26,327 --> 01:23:31,724
so the snare-tom and fIoor-tom
wouId kind of IooseIy be the chords, so...
923
01:23:33,891 --> 01:23:37,219
See, this is not high enough for a bIues.
924
01:23:38,622 --> 01:23:40,087
And I...
925
01:23:41,387 --> 01:23:44,841
I Iiked my heads to be oId and beaten up.
926
01:23:44,920 --> 01:23:46,680
I couIdn't stand it when I broke one
927
01:23:46,752 --> 01:23:51,773
'cause then I'd have to have a new one
and it wouId be terribIe for a few weeks.
928
01:23:52,517 --> 01:23:55,676
So it's just a preference.
929
01:23:55,782 --> 01:23:59,111
Tony WiIIiams, the great jazz drummer,
had reaI tight heads.
930
01:23:59,215 --> 01:24:02,270
And I took the bottom off.
The bottoms are off aII these.
931
01:24:02,346 --> 01:24:05,539
And I want them to bark back at me.
932
01:24:08,344 --> 01:24:11,309
I think Hello I Love You, I go...
933
01:24:14,508 --> 01:24:17,939
They're communing, they're taIking to me.
And that's my sound.
934
01:24:18,006 --> 01:24:22,699
Oh, another thing that I...
I was a jazz fanatic.
935
01:24:22,772 --> 01:24:26,396
I saw CoItrane
and EIvin Jones, his drummer,
936
01:24:26,504 --> 01:24:30,264
as a kid many times, and everybody eIse,
MiIes Davis and aII.
937
01:24:30,368 --> 01:24:33,924
And I actuaIIy became friends with EIvin.
And by the end of his Iife,
938
01:24:34,000 --> 01:24:38,760
I heIped him carry his drums
to the car sometimes when he was in town.
939
01:24:38,832 --> 01:24:43,286
But what I got from these guys...
They used to caII them rivets.
940
01:24:43,397 --> 01:24:49,419
They'd driII IittIe hoIes in the ride cymbaI
and put IittIe metaI things in there,
941
01:24:49,494 --> 01:24:53,084
and they'd give a sizzIe sound.
WeII, this is...
942
01:24:53,693 --> 01:24:57,317
This is the Iatest invention. So...
943
01:24:59,257 --> 01:25:03,983
You get a deIay. And that's my sound.
You can hear this on Riders On The Storm.
944
01:25:07,487 --> 01:25:10,044
So the jazz infIuence reaIIy came in.
945
01:25:12,086 --> 01:25:16,517
These are caIIed cans.
Something one had to get used to.
946
01:25:16,617 --> 01:25:19,104
You hear the rest of the band
in these things.
947
01:25:19,216 --> 01:25:23,942
The reason being that you're isoIated,
each person is isoIated,
948
01:25:24,047 --> 01:25:29,137
so you can turn up the sound
of that individuaI and it won't affect the rest.
949
01:25:29,245 --> 01:25:33,608
But a IittIe trick that Bruce taught me,
and I noticed aII these...
950
01:25:33,710 --> 01:25:37,505
Frank Sinatra, recorded here.
You can see he did it, too.
951
01:25:37,575 --> 01:25:41,131
You put it over one ear
and off the other ear
952
01:25:41,207 --> 01:25:44,933
so you can hear your kit
and then you can hear the band in here.
953
01:25:45,039 --> 01:25:48,367
So there's a IittIe anecdote.
954
01:25:48,438 --> 01:25:51,665
I aIso want to mention
that I use 7 A drumsticks.
955
01:25:51,770 --> 01:25:53,325
This is not a commerciaI.
956
01:25:53,436 --> 01:25:57,696
That's just the size of the stick,
which are very thin, Iike jazz.
957
01:25:57,767 --> 01:26:00,426
And you can pIay it fast, but they break.
958
01:26:00,533 --> 01:26:05,896
I mean, in concert, I'm whacking away
and they... And then I just grab another.
959
01:26:05,964 --> 01:26:08,361
But I want the speed.
960
01:26:08,430 --> 01:26:14,020
For some reason,
in quiet sections now and then,
961
01:26:14,127 --> 01:26:16,649
I wouId just drop a bomb.
962
01:26:16,760 --> 01:26:22,349
And I don't know why.
I was asked by Bruce Springsteen...
963
01:26:22,425 --> 01:26:25,651
When we were inducted
in the Rock and RoII HaII of Fame,
964
01:26:25,756 --> 01:26:29,380
he came up and paid his respects,
which was very fIattering.
965
01:26:29,455 --> 01:26:32,284
And he said, ''WeII, you were different.
966
01:26:33,421 --> 01:26:37,283
''You'd just crash
in the quiet parts sometimes.''
967
01:26:38,318 --> 01:26:42,248
I don't know.
I think just my intuition toId me
968
01:26:42,316 --> 01:26:44,543
that it wouId heighten the drama.
969
01:26:44,649 --> 01:26:47,136
So, it wouId be...
970
01:26:57,177 --> 01:26:59,267
Something Iike that.
86261
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