The Doors en Gibson Introduces Robby Krieger 1954 Les Paul Custom Guitar <!--paging_filter--><p>Robby Krieger’s 1954 Les Paul Custom became a constant writing companion, workhorse, performing partner, muse and musical soul mate all rolled into one right from the time he acquired it used in 1968. </p> <p>Nicknamed “L.A. Woman” after its use on that classic track by the Doors, it contributed to many unforgettable hits, and remains in Robby’s possession to this day, a tried and true companion to a career that has continually evolved and inspired over decades. </p> <p>Now, through a close collaboration between Robby and Gibson Custom, a very limited number of hand-crafted replicas of the Robby Krieger 1954 Les Paul Custom will be made available to discerning collectors and players. Full and unrestricted access to the original guitar has yielded Gibson Custom’s luthiers the means of precisely recreating the feel, look and tone of this legendary instrument. </p> <p>And to take it all over the top the first 50 guitars—hand aged by Gibson—will also be played, approved and signed by Robby himself. A further 100 hand-aged guitars will be produced, with the final 150 of the run treated to Gibson Custom’s proprietary VOS process.</p> <p>Every Robby Krieger 1954 Les Paul Custom is recreated based on hands-on examination, digital scanning, intimate photography, measurement, and study of Robby Krieger’s 1954 Les Paul Custom to insure a playing experience that’s as close to the original as humanly possible. </p> <p>Notable details include the closely matched dish carve and neck profile carve, the accurate ebony fingerboard with aged pearl block markers, accurate vintage multi-ply binding, after-market Seymour Duncan neck pickup, and painstaking hand aging (150 examples) to match every ding, scuff and check line found in Robby’s guitar. In short, the Robby Krieger 1954 Les Paul Custom puts a guitar that would normally be untouchable into the hands of a limited number of discerning players. Reserve yours now at your authorized Gibson Custom dealer.</p> <p>For more about this guitar, including photos and specs, visit <a href=""></a>.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/robby-krieger">Robby Krieger</a> </div> <div class="field-item even"> <a href="/doors-0">The Doors</a> </div> </div> </div> </fieldset> Gibson Gibson Custom Robby Krieger The Doors Electric Guitars News Gear Wed, 12 Nov 2014 22:42:33 +0000 Guitar World Staff Ten Easy Acoustic Guitar Classic Rock Songs <!--paging_filter--><p>Although all of these classic songs may not have been originally recorded on acoustic guitar, they all are perfect for an acoustic jam. </p> <p>These aren’t ranked in any order; they're just 10 great songs that are super easy to play.</p> <p>Even if you can’t master the iconic riffs that are part of most of these tunes, they’re all great to add to your strumming repertoire.</p> <p>In some cases, the chord progressions might be simplified, but they'll still sound great, I promise.</p> <p>So grab your guitar and check 'em out. And then check out our other 10 easy acoustic guitar song lists, too.</p> <p><strong>"The Joker" – Steve Miller Band</strong></p> <p>Are you a picker and grinner? I know I am!</p> <p>That’s why this laid back song is so relatable. And fun!</p> <p>"The Joker" was released by the Steve Miller Band on their 1973 album <em>The Joker.</em></p> <p>The song topped the US Billboard Hot 100 in early 1974. And then topped the UK charts much later in September 1990 when it was featured in a Levi’s commercial (gotta love those jeans!)</p> <p>It’s really just three chords. Easy, easy!!</p> <p>Chords in this song:<br /> G...C...D</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Have You Ever Seen The Rain" – Creedence Clearwater Revival</strong></p> <p>CCR have a lot of great easy to play songs. Here's one of them.</p> <p>It was written by John Fogerty and released by CCR as a single in 1971 from the album <em>Pendulum</em>, which came out in 1970.</p> <p>It peaked at number 8 on the Billboard charts in 1971. </p> <p>Check out these chords and then play it to your own groove. It'll stand up, I promise!</p> <p>Chords in this song:<br /> C....G....Em....Am....F</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>"Take it Easy" – The Eagles</strong> <p>Seven women? Really? No wonder he needs to take it easy!</p> <p>"Take It Easy" was written by Jackson Browne and Glenn Frey and most famously recorded by the Eagles, with Frey singing lead vocals.</p> <p>It was the band's first single, released May 1, 1972. Can you believe it never made it to number 1? It peaked at number 12 on the July 22, 1972, Billboard Hot 100 chart.</p> <p>The opening track on the band's debut album, <em>Eagles</em>, “Take It Easy” has become one of the Eagles’ signature songs, and a theme song of that decade.</p> <p>I still dig it. And yes, I DO need to take it easy…!</p> <p>Chords in this song:<br /> G....D...C...Em...Am</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"I Won’t Back Down" – Tom Petty</strong></p> <p>Here’s another first of the first! “I Won’t Back Down” was the first single from Tom Petty’s debut solo album, <em>Full Moon Fever</em>.</p> <p>Released in 1989, the song was written by Petty and Jeff Lynne, his writing partner for the album. </p> <p>It reached number 12 on the <em>Billboard</em> Hot 100 and topped the Album Rock Tracks chart for five weeks, starting the album's road to multi-platinum status.</p> <p>Gotta love the theme of this song. I’m gonna stand my ground. So go grab your guitar and try it!</p> <p>Chords in this song:<br /> Em...D...G....C</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>"You Might Think" – The Cars</strong> <p>"You Might Think" is a single by the Cars from their fifth studio album, <em>Heartbeat City,</em> which came out in 1984. </p> <p>The track was written by Ric Ocasek and produced by Mutt Lange and the Cars. Ocasek sang lead vocals.</p> <p>It also hit number 1 on the Mainstream Rock Tracks chart in the U.S.</p> <p>The song had a super-cool computer-generated video, and "You Might Think" won the first MTV Video Music Award for Video of the Year and was nominated for five more awards (best special effects, best art direction, viewer's choice, best concept video, and most experimental video) at the 1984 MTV Video Music Awards.</p> <p>Check out the video below and give it a try for yourself.</p> <p>Chords in this song:</p> <p>A...D...E...A...F#m...E</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"House of the Rising Sun" - The Animals</strong></p> <p>This song is actually a traditional folk song. </p> <p>It's best-known form is the 1964 recording by the English rock group the Animals, which was a number 1 hit in the U.K., the U.S., Sweden, Finland and Canada.</p> <p>However, it also was recorded by Bob Dylan, Pete Seeger, Joan Baez, Nina Simone and many more.</p> <p>"House of the Rising Sun" was recorded in one take on May 18, 1964. One take!! That's how to do it.</p> <p>Check out this easy repeating pattern.</p> <p>Chords in this song:<br /> Am...C...D...F...E7</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Light My Fire" - The Doors</strong></p> <p>I admit it. I thought Jim Morrison was pretty darn hot back in the day. And this song sealed the deal.</p> <p>The Doors recorded it in August 1966 and released it the first week of January 1967 on their debut album. </p> <p>Released as an edited single June 1, 1967, it spent three weeks at number 1 on the Billboard Hot 100 chart in late July and one week on the Cash Box Top 100, nearly a year after its recording. </p> <p>"Light My Fire" was performed live by the Doors on the Ed Sullivan Show broadcast September 17, 1967. The Doors were asked by producer Bob Precht, Sullivan's son-in-law, to change the line "girl, we couldn't get much higher," as the sponsors were uncomfortable with the possible reference to drug-taking. The band agreed to do so and did a rehearsal using the amended lyrics, "girl, we couldn't get much better." However, during the live performance, the band's lead singer Jim Morrison sang the original lyric. That's stickin' to the man in true Morrison style.</p> <p>Super easy. Now go!</p> <p>Chords in this song:<br /> Am9...F#m<br /> G...A...D...E</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Wish You Were Here" - Pink Floyd </strong></p> <p>True story. At one point in my life I was in a Pink Floyd tribute band. So this list couldn't be complete without a selection by this band.</p> <p>"Wish You Were Here" is the title track on Pink Floyd's 1975 album <em>Wish You Were Here.</em>. Its lyrics encompass Roger Waters' feelings of alienation from other people. </p> <p>Like most of the album, it refers to former Pink Floyd member Syd Barrett and his breakdown. David Gilmour and Waters collaborated to write the music. </p> <p>On June 14, 2013, the song was released as an unofficial promotional single on Spotify and when the fans streamed it one million times, the rest of the band's catalog was released, which happened after only four days. Woo-hoo!</p> <p>The chord pattern repeats throughout the entire song.</p> <p>Chords in this song:<br /> C...D...Am...G...D</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>"Lonely People" - America</strong> <p>America is one of my favorite classic bands of all time. I couldn't stop singing their songs in my younger days.</p> <p>"Lonely People" is a song written by the husband-and-wife team of Dan and Catherine Peek and performed by America. The track was the second release from America's 1974 album <em>Holiday</em>. </p> <p>"Lonely People" reached number 5 on the Billboard Hot 100, Dan Peek's only credited song to reach that chart's top 10, and was America's second number one on the Easy Listening chart, where it stayed for one week in February 1975.</p> <p>"Lonely People" was written as an optimistic response to the Beatles' "Eleanor Rigby."</p> <p>So don't give up! Give it a try...</p> <p>Chords in this song:<br /> G...Em...Bm...D....Am</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>"Lola" – The Kinks</strong></p> <p>When I was a kid, one of the neighbors called me “Lola,” so this song has a special place in my heart.</p> <p>"Lola" was written by Ray Davies and performed by the Kinks.</p> <p>Released June 12, 1970, in the U.K. on the 28th in the U.S., the single was on the album <em>Lola Versus Powerman and the Moneygoround, Part One</em>. It reached number 2 on the UK charts and number 9 in the U.S.</p> <p>Does pink champagne really taste like cherry cola? Who cares! Check out the easy chords for this classic:</p> <p>Chords in this song:<br /> E...A...D<br /> B7...F#7...A </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Laura B. Whitmore is the editor of and a singer/songwriter based in the Boston metro area. A veteran music industry marketer, she has spent over two decades doing marketing, PR and artist relations for several guitar-related brands including Marshall and VOX. Her company, Mad Sun Marketing, represents Peavey, Dean Markley, MusicFirst, SIR Entertainment Services, Guitar World and many more. Laura is the founder of the <a href="">Women's International Music Network at</a> and the producer of the <a href="">She Rocks Awards</a>. More at <a href=""></a></em></p> Acoustic Nation America Creedence Clearwater Revival Pink Floyd Steve Miller Band The Animals The Cars The Doors The Eagles The Kinks Tom Petty and the Heartbreakers Blogs Wed, 20 Aug 2014 12:40:25 +0000 Laura B. Whitmore The Doors' Robby Krieger Discusses Bob Dylan's 'Bringing It All Back Home' — The Record That Changed My Life <!--paging_filter--><p><em>Robby Krieger of the Doors chooses and discusses the record that changed his life.</em></p> <p><strong>Bob Dylan</strong><br /> <em>Bringing It All Back Home</em> (1965)</p> <p>“This guy from Marblehead, Massachusetts, who I knew in school named Bill Phinity turned me onto Bob Dylan. </p> <p>"We had a jug band called the Back Bay Chamberpot Terriers. This was the same time that Jerry Garcia, Bob Weir and Pigpen were playing in a jug band before they formed the Grateful Dead, but they were a lot better than us. Our only gig was for the Ladies Auxiliary. We played a bunch of Dave Van Ronk stuff. </p> <p>“I was 19 and attending [The University of California] Santa Barbara when <em>Bringing It All Back Home</em> came out. I was taking a lot of acid in those days, and everything Dylan said just really connected with me. There are a lot of great songs on that album—‘Maggie’s Farm,’ ‘Mr. Tambourine Man,’ ‘It’s All Over Now, Baby Blue.’ ‘Subterranean Homesick Blues’ is one of my favorites. That was actually the first rap song as far as I’m concerned. Dylan used the words like notes. He didn’t really care what they said, just how they sounded. </p> <p>“I always liked the way that Dylan played guitar, although I never tried to copy the way he played.</p> <p>"I was always amazed by how he could play guitar and sing or play harmonica at the same time. But the spirit of Dylan’s music has always stayed with me through everything I’ve done with the Doors and the Robby Krieger Band.”</p> <object width="620" height="365"><param name="movie" value="//;hl=en_US" /><param name="allowFullScreen" value="true" /><param name="allowscriptaccess" value="always" /><embed src="//;hl=en_US" type="application/x-shockwave-flash" width="620" height="365" allowscriptaccess="always" allowfullscreen="true"></embed></object><fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/bob-dylan">Bob Dylan</a> </div> <div class="field-item even"> <a href="/doors-0">The Doors</a> </div> <div class="field-item odd"> <a href="/robby-krieger">Robby Krieger</a> </div> </div> </div> </fieldset> Bob Dylan July 2014 Robby Krieger The Doors The Record that Changed My Life Interviews News Features Magazine Fri, 01 Aug 2014 10:25:20 +0000 Robby Krieger Essential Listening: 10 Great Fuzz Guitar Songs <!--paging_filter--><p>Musicians can still be a little fuzzy when it comes to describing the sound of fuzz. </p> <p>Some guitarists will tell you it sounds like a 2,000-pound bee trapped in a sturdy metal box — perhaps with a potentiometer installed somewhere behind the wings. And while many fuzz guitar tunes and tones did (and do) make the most of the original fuzz "buzz" sound, fuzz actually has many facets, many sides, many fuzz faces, if you will.</p> <p>Here are 10 songs — compiled by several members of the <em>Guitar World</em> staff — that we feel represent a wide spectrum of fuzz sounds and cover a lot of stomping ground. These songs are presented in no particular order. I repeat: These songs are presented in no particular order!</p> <p>If you want to track down any of these tracks, you'll find all 10 original album covers in the photo gallery below.</p> <p>For more fuzz box info, check out Chris Gill's <em>Guitar World</em> feature on <a href="">"How to Buy a Fuzz Box: A Guide for the First-Time Buyer."</a> And if you've still got stompbox fever, check out our guide to <a href="">"The Top 50 Stomp Boxes, Devices and Processors of All Time."</a> Enjoy!</p> <p><strong>The Ventures, "The 2000 Pound Bee"</strong></p> <p>Let's start at the beginning, namely "The 2000 Pound Bee," a 1962 track by the Ventures, the best-selling instrumental band of all time. While no one (including us) wants to make the claim that this is <em>the</em> first song to feature intentional fuzz guitar (as in, fuzz as the result of an effect pedal, as opposed to a busted speaker cone), it is commonly accepted to be exactly that (Although we must mention that it's not necessarily true). The Ventures were always ahead of the curve when it came to weird effects, as best demonstrated by their very "out there" 1964 album, <em>The Ventures In Space</em>. That's Nokie Edwards playing the fun, fuzzy riff, by the way. </p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Yardbirds, "Heart Full of Soul"</strong></p> <p>And to think these guys originally tried to play this classic guitar riff on a sitar! Seriously, why bother? Jeff Beck's tone on this mid-1965 hit single pretty much exemplifies the still-much-sought-after mid-'60s "fuzz" and/or "buzz" tone. Oddly enough, Beck used a fuzz box to recreate the tone of a sitar, the very instrument that didn't cut it in the first place. Beck is playing an MKI Tone Bender pedal on this track. </p> <p><iframe width="620" height="360" src="//" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Doors, "When the Music's Over"</strong></p> <p>Back to California we go, with the Doors' 11-minute-long "When the Music's Over," a standout track from 1967's <em>Stange Days</em>. "Fuzz distortion was all we had," Doors guitarist Robby Krieger has said in past interviews. "We didn't have overdrive on our amps." In a <em>Guitar Player</em> magazine interview, he added that the fuzz was created by recording direct and cranking the gain/overdriving tube input on the mixing board. Regardless of how he achieved the fuzz tone on this track, it is beautiful, bizarre and creepy all at once!</p> <p><iframe width="620" height="360" src="//" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Iron Butterfly, "In-A-Gadda-Da-Vida"</strong></p> <p>Let's stay in the '60s a bit longer with an extended visit to the garden of life, aka "In-A-Gadda-Da-Vida" from Iron Butterfly's super-psycho 1968 album of the same bizarre name. Yes, that sentence was a mouthful — and this 17-minute-long track is an earful of pretty much every late-'60s psychedelic-rock cliche. You have the lengthy drum solo, the spooky church-organ-style keyboards, the arguably meaningless lyrics and, of course, the fuzz guitar. This time, the fuzz is courtesy of an original Mosrite Fuzzrite — and teenage guitarist Erik Braunn. For more about the Fuzzrite, <a href="">check out this site.</a></p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Guess Who, "American Woman"</strong></p> <p>Don't worry — we'll return to '60s (We have to; we haven't mentioned Jimi Hendrix and his Fuzz Face yet). However, let's take a brief detour to early 1970, and up north to lovely Canada, home of the Guess Who, a band that scored a major hit with this tune about women from "south of the border." The song is noteworthy for Randy Bachman's unique, creamy, sustaining, neck-pickup tone (or "cow tone," as Ozzy Osbourne might say). For more about Bachman's adjective-laden "American Woman" tone (and how it came to be that way), <a href=";t=29">check out this website.</a> </p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Jimi Hendrix, "Foxy Lady"</strong></p> <p>You knew this was coming! "Foxy Lady" — or pretty much any track from Jimi Hendrix's debut album, <em>Are You Experienced?</em> — is a prime example of Hendrix playing his Fender Strat through a <a href="">germanium Fuzz Face pedal</a> (a Fuzz Face using germanium transistors.) Most germanium pedals simply reflect the qualities of a vintage tube amp, but in super-cranked mode, providing a warm sound when the speaker breaks up. It's a "rounder" distortion, as heard on "Foxy Lady." It's not at all what you hear on the Yardbirds' "Heart Full of Soul" or "Over Under Sideways Down." These days, Jim Dunlop makes a faithful reproduction of a slightly-later Hendrix pedal — his 1969/'70 <a href="">Dallas Arbiter</a> Fuzz Face, which was built around a BC108 silicon transistor. For more about the new Hendrix Fuzz Face, <a href="">head here.</a></p> <p><iframe width="620" height="360" src="//" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Jeff Beck, "Beck's Bolero"</strong></p> <p>Yes, it's Jeff Beck again, this time as a solo act, still fuzzing away. "Beck's Bolero" — released in March 1967 — was the B-side of Beck's first single, "Hi Ho Silver Lining" (which features the mop-topped guitarist on vocals — a true rarity). The brief but powerful instrumental features Beck and Jimmy Page on guitar (Beck on lead, of course), John Paul Jones on bass, Nicky Hopkins on piano and Keith Moon on drums. It was recorded in mid-1966, before there was a Led Zeppelin — and before Beck had even left the Yardbirds. Although we'll try to verify this the next time we speak to Beck, it is widely believed he used a Mk.II/Supa Fuzz pedal on this song. </p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Smashing Pumpkins, "Cherub Rock"</strong></p> <p>We haven't mentioned the Big Muff yet! Enter "Cherub Rock" by Smashing Pumpkins, a killer song in general and a perfect example of the sound of an early Big Muff. The rest of the Billy Corgan's recording chain is most likely a Strat and a Marshall amp; but the Big Muff is doing the talking here.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>Beastie Boys, "Sabotage"</strong></p> <p>Here's a curve ball for you, direct from New York City! It's "Sabotage" by the Beastie Boys, which makes this list on the merits of its fuzz bass sound, which is absolutely killer — and nearly as cool as the song's mustache-heavy music video. As heard in other fuzz-bass-centric tunes, including the Beatles' "Think for Yourself," the bottom end gets a bit lost, but the gains (no pun intended) are many. The bass was played through a Black Cat Superfuzz unit, which was based (again, no pun ...) on a 1970s Univox Superfuzz. Like its inspiration, the Black Cat truly pounces and shrieks! Insert your own cat-related puns here. </p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <p><br /></p> <p><strong>The Rolling Stones, "(I Can't Get No) Satisfaction"</strong></p> <p>We'll wrap things up with a classic from 1965: "(I Can't Get No) Satisfaction" by the Rolling Stones. The famous fuzz riff with the almost-trombone-like tone is played by the maestro, Keith Richards, who happens to be playing through a Maestro Fuzztone FZ-1, a pedal made by Gibson/Norlin. The Maestro, which had a tone and fuzz potentiometer, plus a push on/off footswitch, was probably the best-known early commercial distortion circuit. The massive success of "Satisfaction" led to increased interest in fuzz pedals and sound research — not to mention stories like the one you're just finishing reading now.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World<em>. <a href="">Here he is playing a Tele through a Tone Bender clone on the Blue Meanies' version of "Heart Full of Soul."</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/doors-0">The Doors</a> </div> <div class="field-item even"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/billy-corgan">Billy Corgan</a> </div> <div class="field-item odd"> <a href="/keith-richards">Keith Richards</a> </div> </div> </div> </fieldset> Beastie Boys Damian Fanelli Essential Listening Jimi Hendrix The Doors The Yardbirds Guitar World Lists News Features Tue, 13 May 2014 15:18:53 +0000 Damian Fanelli Interview: Guitarist Robby Krieger Discusses The Doors' Albums and Working with Jim Morrison <!--paging_filter--><p><strong>The Doors’ Jim Morrison lit the world on fire, but it was guitarist Robby Krieger who supplied the matches. In 2008, the legendary axman shed light on one of rock’s most mysterious bands for <em>Guitar World</em>.</strong></p> <p>The Doors’ Jim Morrison lit the world on fire, but it was guitarist Robby Krieger who supplied the matches. Here, the legendary axman sheds light on one of rock’s most mysterious bands.</p> <p>“It was hard living with Jim.”</p> <p>Robby Krieger is talking about his days as guitarist with the Doors, reflecting on his role as creative sidekick to one of rock’s all-time great lyricists, singers, sex symbols and extreme personalities, Jim Morrison. “It would have been so great if we’d just had a guy like Sting,” says Krieger wistfully. “You know, a normal guy who’s extremely talented, too. Someone who didn’t have to be on the verge of life and death every second of his life.”</p> <p>The guitarist laughs at his own fantasy. He knows better than anyone that it was Morrison’s inner demons, which surfaced all too frequently, that gave the Doors’ music its resonance and power. But while Morrison was undoubtedly one of rock’s great visionaries, the contributions of the other Doors to the band’s unique sound and success cannot be overlooked. The blues-based, often hypnotic music created by Krieger, organist Ray Manzarek and drummer John Densmore perfectly complemented Morrison’s commanding, sensual vocals and mesmerizing lyrics. And it was actually Krieger who penned many of the Doors’ greatest songs and biggest hits, including “Light My Fire,” “Love Me Two Times” and “Touch Me.”</p> <p>Remarkably, when Krieger joined the Doors in 1965 he was only 18 years old and had been playing guitar for just two years — electric guitar a mere six months.</p> <p>“I really learned to play as a member of the Doors,” he asserts. “I just tried to sound like myself—I consciously avoided copying Chuck Berry or B.B. King because that’s what everyone was doing. I tried to come up with the right part for the song and play something that would complement Jim’s singing.</p> <p>“It must have worked,” he adds coyly. “I think we came up with a pretty good body of work.”</p> <p>Pretty good, yes. Good enough to have gotten the Doors inducted into the Rock and Roll Hall of Fame last January and to have inspired Oliver Stone’s reverential 1991 biopic. And, most of all, good enough to enthrall three decades of rock fans with music that remains as powerful and profound in the Nineties as it was in the Sixties.</p> <p>Robby Krieger cannot escape his past with the Doors, even though the band essentially died with Morrison in 1971. Although he has remained active, touring regularly and recording seven solo albums dominated by instrumental music, Krieger says, “I realized pretty quickly that I would never again have another band like the Doors. Music has become more of a fun thing for me, much like painting is — something that’s personally rewarding. It’s what I do and how I identify myself: I’m Robby Krieger, guitarist.”</p> <p>Most people would say: Robby Krieger, Doors guitarist. What follows are Krieger’s recollections of the Doors’ career, from their 1967 self-titled debut to 1971’s brilliant swan song, <em>L.A. Woman</em>.<br /> <br /><br /> <strong>THE DOORS</strong><br /> <em>Released January 1967</em></p> <p><strong>GUITAR WORLD:</strong> <strong>What was your first impression of Jim Morrison?</strong></p> <p>I first met him when he came to my house with John Densmore and he seemed pretty normal. I didn’t really get a sense that there was anything unusual about him until the end of our first rehearsal. Initially, everything was cool. Then this guy came looking for Jim. Something had gone wrong with a dope deal, and Jim just went nuts. Absolutely bananas. I thought, Jesus Christ, this guy’s not normal.</p> <hr /> <strong>What were your impressions of Ray Manzarek?</strong> <p>When I first met him, he was the “big man on campus” at the UCLA film school. In fact, our first gig as a band was to provide music for one of his student films. Afterwards Ray got up in front of an auditorium full of people and gave a speech. I remember it well, because he had them in the palm of his hand. He was down-right mesmerizing. He was a major character, but Jim kind of kept him in his place. Jim was so out there that Ray’s personality was overwhelmed — which, oddly enough, created a good balance.</p> <p><strong>And you were pretty much what you appeared to be: a nice, quiet guy who fit in between these two powerful personalities?</strong></p> <p>Well, dealing with Jim kind of changed me, too, because I was pretty crazy myself. I was the first one at my school to try acid and I was always the one pushing things. Then I got into the Doors and I couldn’t hold a candle to Jim and Ray. [<em>laughs</em>] But I had already gone through acid and I was onto meditation by the time I joined the Doors—I actually met John at meditation class—so I had already mellowed out.</p> <p><strong>When were the Doors thrown out of the Whisky-A-Go-Go for performing “The End”?</strong></p> <p>Well, that’s overstating it a little bit. That whole incident has been blown out of proportion. There was a fight with the owner and we were thrown out, but I don’t think we were actually fired. We kept playing the Whisky after that.</p> <p><strong>Jim’s antics are held in such reverence now. Were they funny at the time?</strong></p> <p>It was always a bummer. We had this group which we all knew had the potential to be something really big, and Jim was trying to sabotage it by fucking up at every turn. We would call a rehearsal, Jim wouldn’t show, and we’d get a call from Blythe, Arizona, telling us that he was in jail.</p> <p><strong>Yet you guys were amazingly productive. You produced six studio albums in three or four years. Were his work habits really that bad?</strong></p> <p>No. the music was all he lived for. A lot of times he was at the office when we weren’t. He’d even live there sometimes, because that was his whole life. We all had lives other than the Doors, but he didn’t, and he kind of resented that. He felt like he was living it 24 hours a day, and we weren’t. And he was right.</p> <p>But the recording sessions really bored him. We had to hang around interminably until they got the drum sound down and all that shit, so I can’t blame him for going crazy. Paul Rothchild, our producer, was a real perfectionist.</p> <p><strong>How important was Paul to your music?</strong></p> <p>It really differed from album to album. On the first one, he just turned on the mic and stepped out of the way. The second album, when we actually had a budget, Paul really got involved in the sound.</p> <p>We were all kind of freaked out recording the first album because we didn’t know what it would be like. For example, it really bothered us that we couldn’t turn up as loud as we wanted.</p> <p><strong>Yet it really sounds like you were all playing with total abandon.</strong></p> <p>That’s because we had been playing those songs for so long that we really had the material down cold. Everything was cut in one or two takes.</p> <p><strong>Your version of “Back Door Man” is really effective. Were there any debates about how faithful you should be to the original version?</strong></p> <p>No. For one thing, we probably weren’t good enough musicians to do exact copies and we knew that Jim would never sing it anywhere near the original anyhow. So we just went on our own.</p> <p><strong>For years it was a little-known fact that you wrote “Light My Fire.” That changed when Oliver Stone made it a point to show how the song evolved in his movie, <em>The Doors</em>. Was it as simple as pulling a crumpled piece of paper out of your pocket and offering it to the band like the movie suggests?</strong></p> <p>It’s pretty close. Jim had been writing all the songs and then one day we realized we didn’t have enough tunes, so he said, “Hey, why don’t you guys try and write songs?” I wrote “Light My Fire” that night and brought it to the next rehearsal. It was my idea to have that scene in the movie, by the way. I wanted it there because it’s always kind of bugged me that so many people don’t know that I was the composer.</p> <p><strong>Your solo on “Light My Fire” is truly one of your shining moments as a guitarist. Was it improvised in the studio?</strong></p> <p>It was the kind of solo that I usually did, but it was different every night. To be honest, the one on the record is not one of my better versions. I only had two tries at it. But it’s not bad; I’m glad it was as good as it was.</p> <p><strong>Was the whole album recorded live?</strong></p> <p>No. Jim always sang with us, but they rarely used the scratch vocal. “The End” was an exception.</p> <p><strong>What do you think of the song now?</strong></p> <p>I think that particular version of “The End” was nowhere near as good as the way we played it many other times. All the songs on the first album were like skeletons of how we really played them. It was just a combination of not having any studio experience and having to do everything so fast. I also think that studios are, by nature, limiting. You cannot get the sound of five big amplifiers on a little piece of tape.</p> <hr /> <strong>Did you ever think about how strange it was not to have a bass player?</strong> <p>Definitely. We <em>always</em> thought about that. We wanted a bass player, and we auditioned a few — but we never could find one who was right. Looking back, I’m glad we didn’t, because the Doors’ sound was largely a result of the fact that Ray <em>had</em> to play really simple bass lines, which gave the music a hypnotic feel.</p> <p>And not having a bass player affected my guitar playing a lot. It made me play more bass notes to fill out the bottom. Not having a rhythm player also made me play differently to fill out the sound. And then, of course, I played lead, so I always felt like three players simultaneously.</p> <p><strong>“Light My Fire,” the first song you ever wrote, was a number-one hit. It’s sudden success must have been mind-boggling.</strong></p> <p>It wasn’t that sudden. It actually felt like forever to us. We started the band in 1965, and nothing happened for two years. We were going crazy. Finally, after being turned down by everyone in town, Elektra signed us. Our first single bombed, and it was another six months before “Light My Fire” hit. So it seemed like a long time. We felt like veterans.</p> <p><strong>Did you use your standard gear in the studio? Were you playing an SG?</strong></p> <p>Yeah, though the first red one I had was a Melody Maker. I had a few red SGs in the Doors, but they’re all gone now, mostly stolen or lost. Amp-wise, I usually used a Twin Reverb in the studio.</p> <p><strong>You almost allowed “Light My Fire” to be used in a car commercial before Jim put an end to it. Did Jim do the right thing?</strong></p> <p>Oh yeah, absolutely. In fact, it’s been our policy to reject any subsequent offers—and we’ve had quite a few. I really hate it when I see other bands selling their music to commercials. And by the time a big corporation is interested in using your music, you don’t need the money. So there’s really no excuse.<br /> <br /><br /> <strong>STRANGE DAYS</strong><br /> <em>Released November 1967</em></p> <p><strong>When the second album came out it was attacked by many critics as being a retread of the first. Do you think that was valid criticism?</strong></p> <p>Only on one count. I’ll admit that “When the Music’s Over” was similar to “The End” in length and structure, but so what? Something works, so you do it again. It’s one of my favorite songs.</p> <p><strong>I don’t think that Morrison’s poetry rap is quite as interesting on “When the Music’s Over” as “The End.”</strong></p> <p>No, it’s not. How can you possibly top “The End”? What’s left once you’ve fucked your mother and killed your father? [<em>laughs</em>] The reason it’s my favorite song is my solo — I think it’s my best.</p> <p><strong>That solo is composed of two solos being played simultaneously. Did you improvise both of them on the spot?</strong></p> <p>Pretty much. In fact, I’ve never been able to reproduce them. That solo was really a challenge because the harmony is static. I had to play 56 bars over the same riff, which isn’t easy. It’s a lot easier to play something over an interesting chord progression. But we did that a lot because we were really into [<em>saxophonist</em>] John Coltrane, who pioneered “modal” jazz and soloed brilliantly over static harmonies and minimal chord progressions. I was always trying to play something that sounded like him — just totally out there in terms of tonality. I think “When the Music’s Over” is the closest I ever came.</p> <p><strong>You recorded <em>Strange Days</em> less than a year after your debut. Did Elektra put a lot of pressure on you?</strong></p> <p>No, we were ready. We had tons of material for the first two albums; the pressure came on the third album. We ran out of stuff and Jim was pretty fucked up on liquor by then, so it was hard to write with him and that’s when I started writing more of my own songs. It was also difficult to write while we were touring, so we started writing a lot more in the studio.</p> <p><strong>What was life on the road with the Doors like?</strong></p> <p>Not as crazy as you would think. At first, it was mostly teenyboppers and groupies and a few local nuts hanging around. But a couple of years down the road, when people realized how weird we were, we really started drawing some creeps. We still do, I might add—Morrison wannabes show up on my doorstep all the time. And they always want to sing. [<em>laughs</em>]</p> <p><strong>Speaking of weirdoes, “People Are Strange” has a great chord progression. Did you write that?</strong></p> <p>Yeah. Jim came up to my house in Laurel Canyon one night, and he was in one of his suicidal, downer moods. So John said, “Come on, Jim, we’ll go see the sunset. That’ll get you out of this.” We went up to the top of Laurel Canyon and it was incredibly beautiful — we were looking down on the sun reflecting off the top of the clouds. Jim had a total mood flip-flop, and said, “Wow! Now I know why I felt like that. It’s because if <em>you’re</em> strange, <em>people</em> are strange.” And he wrote the lyrics right there. Then I came up with the music and we went back down the hill.</p> <p><strong>Why wasn’t “Moonlight Drive,” the first song you wrote and rehearsed together, on the first album?</strong></p> <p>It wasn’t really the first song: “Indian Summer” was, and “Moonlight Drive” was the second. But we didn’t think the version that we cut was good enough, so we decided to drop it off the first album and try again next time. Unfortunately we’ve never been able to find the damn master for the first version. I think we may have found it now, and I hope I’m right because I always thought it was good. It was totally different than the one on <em>Strange Days</em>. It was real dark and laid-back, very spooky.</p> <hr /> <strong>Any strange memories from the <em>Strange Days</em> album?</strong> <p>One time, we were getting ready to leave for the night and Jim didn’t want to stop because he was feeling good. He kept saying, “Man, I want to play all night.” But we were all tired and wanted to go home. Jim finally left, but he came back half an hour later, climbed over the fence, broke into the studio, took out the fire extinguisher and sprayed it into the piano and all over everything. It was quite a surprise in the morning. [<em>laughs</em>]</p> <p><strong>Were you guys around when Jim recorded “House Latitudes”?</strong></p> <p>Yeah. He said he had a poem he wanted to read and he wanted something real weird to back it. There were all these instruments in the studio from an orchestra session — harpsichords and pianos and timpani. We all started banging on them and fumbling around inside the pianos, and there were 10 or 12 people just screaming at the top of their lungs. After we laid that down, Jim overdubbed the poem.</p> <p>The funny thing was, as we were listening back at full volume and Jim was reading, the guys from the Jefferson Airplane came straggling in — high as kites, or course. They stared at us like we were out of our minds, but we just acted casual and said, “Oh yeah, this is one of our songs.” [<em>laughs</em>]</p> <p><strong>Were you friends with them?</strong></p> <p>Sort of. We always played on the same bill, but we didn’t really hang out much. There was always a bit of competitive vibe—to see who could blow who off the stage.</p> <p>We didn’t hang out with other musicians that much — just Van Morrison when he came to town, and occasionally the guys in Buffalo Springfield. We didn’t get too close with the San Francisco groups — especially the Grateful Dead, who wouldn’t let us use their amps one night. We had a gig at Beverly Hills High School in the afternoon and then one about an hour up the coast in Santa Barbara, so we left our gear, figuring the Dead would let us use their stuff. You’d always let people use your amps in those days, but they just refused. I ended up playing through a Pignose or something equally ridiculous.</p> <p>Ray was aghast at the fact that Pigpen wouldn’t let him use his organ. He kept saying, “Pigpen? Someone named <em>Pigpen</em> won’t let me use his instrument? I could catch cooties from his organ.” He couldn’t believe it.<br /> <br /><br /> <strong>WAITING FOR THE SUN</strong><br /> <em>Released August 1968</em></p> <p><strong>It seems like the band was in a creative lull and feeling a lot of pressure by the third album. Do you see a band like Pearl Jam going through a similar thing?</strong></p> <p>Their situation is a lot different, but, yes, I see the similarities. I know Eddie [<em>Vedder</em>] — he sang with us at our induction into the Rock and Roll Hall of Fame last year—and he wants to be like Jim. He was drilling me about Jim — asking me a million questions about how Jim would have reacted to various situations. And he is kind of a troubled person and a very serious guy, like Jim was. But I don’t think he, or anyone else in that band, is too fucked up to write good material. They may not be the straightest people in the world, but it’s not like our situation, where you have a guy who’s really out of control. Eddie’s not like that; he knows what he’s doing.</p> <p><strong>Does it trouble you to see someone emulate a person whose self-destruction you witnessed?</strong></p> <p>Yeah, it really does. I always tell people, “Don’t drink because Jim drank. That was a mistake. That’s what fucked him up.” If it weren’t for the booze he might still be writing today.</p> <p><strong>Had his drinking gotten seriously worse when you were recording <em>Waiting for the Sun</em>?</strong></p> <p>Definitely. That’s when the liquor really started being a problem. Before that, everything was more or less fine. LSD was no problem because it was a creative thing. There’s nothing good about liquor — it just fucks you up—though at first it relaxes you, which is what you probably need after taking eight-zillion acid trips. [<em>laughs</em>]</p> <p><strong>“Hello, I Love You” was a number-one hit and <em>Waiting for the Sun</em> topped the album charts. Can that kind of success get you through a creative lull?</strong></p> <p>It helped a lot. In fact, we were just going out on tour when “Hello, I Love You” hit number one, and it really buoyed our spirits. People always think that we stole that track from the Kinks’ “All Day and All of the Night,” but we weren’t thinking of them at all. What I did steal was the drumbeat: I told John to play something like “Sunshine of Your Love.” So, we ripped off the Cream, not the Kinks.</p> <p><strong>What specific recollections do you have of these sessions?</strong></p> <p>A lot of very horrible ones. By that time, Jim was being taken advantage of by various hangers-on. He would bring them to the studio and Rothchild would go crazy — all these drunken assholes would be hanging around, fucking in the echo chamber and pissing in the closets. It was a mess.</p> <p>Jim would drink with anybody because we wouldn’t drink with him. He would take on all these assholes, who used him: “Hey, we’re hanging with Jumbo.” And they wouldn’t care how fucked up he got—they’d leave him on somebody’s doorstep in his own puke.</p> <p><strong>At what point did you guys refuse to drink with him?</strong></p> <p>I never drank with him because I didn’t like to drink to excess and he loved to go until he couldn’t see. I knew what was coming and hated to see it, so I would usually be gone by that point. John and Ray felt the same way.</p> <p><strong>Were you three using a lot of drugs at that point?</strong></p> <p>No. Not at all. And the fact that Jim was using so much made us use even less. The romance was definitely gone. Once in a while he would talk me into taking acid — just like you saw in the movie — but not often.<br /> <br /><br /> <strong>THE SOFT PARADE</strong><br /> <em>Released January 1969</em></p> <p><strong><em>The Soft Parade</em> features several heavily orchestrated, intricately arranged songs. Were you compelled to go into this direction because of the Beatles?</strong></p> <p>Yeah, totally. In those days you had to try to keep up with the Beatles! But, to be honest, I didn’t really like orchestrating the songs. It definitely wasn’t my idea — it was Paul Rothchild’s. I never would have done it.</p> <hr /> <strong>Does it sound better to you now?</strong> <p>Actually, it does sound better with time. But I never thought it sounded <em>bad</em>—I just thought it didn’t sound like <em>us</em>. The Doors were lost. It was Jim and the orchestra.</p> <p><strong>This was the first album where you had individual songwriting credits.</strong></p> <p>Right. Jim originally wanted everything to say “written by the Doors” to keep things mysterious. But everybody just took it for granted that he wrote everything. I think he realized that wasn’t fair and wanted to give others credit.</p> <p><strong>Did he actually write the music on those songs where he alone is credited?</strong></p> <p>No. He would hear the song in his head. But he didn’t play anything, so he would sing a vocal melody, and we would have to figure out what to do. But a lot of times he just had a poem on paper and I would come up with something. Other times I would come up with a melody, and he’d put words to it.</p> <p><strong>What about the <em>Soft Parade</em> sessions sticks out in your mind?</strong></p> <p>The endless mixing sessions. That was a very long, drawn-out album. We spent more money on it than we did on any other album. And Jim was hard to find. All the mixing bored the hell out of him. But I think his drinking problem wasn’t as bad as it was on <em>Waiting for the Sun</em>, because he had started making a film, which kept him busy.</p> <p>There was one funny thing that happened. This crazy guy appeared and apparently he thought that “The Celebration of the Lizard” [<em>a Morrison poem which appeared on</em> Waiting for the Sun] was written about him. He was yelling, “How did you know that I’m the Lizard King, goddamn it! That’s me. You wrote a song about me!” And he smacked Ray right in the eye because he thought Ray was Jim. Ray had his glasses on and they just crumpled. It was a mess.</p> <p><strong>Before the poem appeared had you ever heard Jim refer to himself as the Lizard King?</strong></p> <p>He was always obsessed with lizards—he loved that kind of stuff because he’d seen it on acid a lot. But I don’t know when he came up with “I am the Lizard King.” I think he wished he had never said that. It was just another thing he had to live up to.</p> <p><strong>During the <em>Soft Parade</em> tour, your Miami concert erupted in pandemonium and was canceled. Later Jim was charged with indecent exposure. What do you remember of the concert?</strong></p> <p>Well, first of all, Jim did <em>not</em> pull it out. But it was bedlam, just total craziness. The place was oversold, thousands of people swarmed the stage, and it collapsed. I remember Jim just rolling around in the midst of all those people and I was wondering if we would ever get out of there. It was very much like in the movie — they did a real good job on that one.</p> <p><strong>But you had no sense that the incident was going to turn into such a big thing?</strong></p> <p>No, hell no! Okay, the concert was fucked up, and we didn’t finish, but nobody was angry, nobody asked for their money back. And the cops were friendly — they sat around drinking beers with us after the show. Nothing happened until a week later, when somebody decided to make a stink about it. Some politician decided to make their career at our expense. Then it fucked everything up. We couldn’t play anywhere for a year. The Hall Managers’ Association basically banned us.</p> <p><strong>Did Jim feel very persecuted?</strong></p> <p>I’m sure he did. But he wasn’t surprised. He knew he was pushing authority as far as it could go. We really did have the sense that we had pushed the system to the edge and finally they were pushing back.<br /> <br /><br /> <strong>MORRISON HOTEL</strong><br /> <em>Released March 1970</em></p> <p><strong>“Roadhouse Blues” and a couple of other songs on <em>Morrison Hotel</em> hinted at the changes to come on <em>L.A. Woman</em>—heading in a bluesier, more bare-bones direction.</strong></p> <p>I think it was a reaction to the overproduction of <em>The Soft Parade</em>. We wanted to get back to basics. “Roadhouse Blues” is one of my personal favorites. I was always proud of that song because, as simple as it is, it’s not just another blues. That one little lick makes it a song, and I think that sums up the genius of the Doors. I think that song stands up really well as an example of what made us a great band. And the session was really cool — one of my fondest memories of the band. We cut the tune live, with John Sebastian playing harp and Lonnie Mack playing bass—he came up with that fantastic bass line.</p> <p><strong>How did Mack end up on there?</strong></p> <p>He just happened to be hanging around. I think he had a contract with Elektra and wasn’t recording so they gave him a job at the studio. We just said, “Hey, why don’t you play bass?”<strong></strong></p> <p>You co-wrote “Peace Frog” with Jim.</p> <p>Yes. I had written the music, we rehearsed it up, and it was really happening, but we didn’t have any lyrics and Jim wasn’t around. We just said, “Fuck it, let’s record it. He’ll come up with something.” And he did. He took out his poetry book and found a poem that fit. But it always seemed kind of forced to me, to tell you the truth.</p> <p><strong>The legend has Ray and Jim being very tight, but you’re the one who wrote with him a lot.</strong></p> <p>In the very early days Ray was very close with Jim; Jim actually lived with Ray and his wife. He was almost like their son, and he was great for a while—he wasn’t drinking or anything. The problem was that Ray became a father figure, so Jim rebelled. He fucked their house up—trashed it on more than one occasion — and took advantage of them in many ways. Then I joined the band and sort of latched on to Jim, and we hung out a lot.</p> <p>Ray worked up all the early songs with Jim — everything on the first album. Then I wrote a lot with Jim — before I started really writing on my own—and those songs went mostly on the second and third albums.</p> <hr /> <strong>Did you ever talk about lyrics with Jim?</strong> <p>Not much. He didn’t like to explain lyrics because he wanted people to interpret them themselves. But he thought about that stuff a lot. He was also somewhat into pure impressionism — which I think is what he liked about my songs. I always tried to write something that just fit the music, even if it didn’t especially mean anything.<br /> <br /><br /> <strong>L.A. WOMAN</strong><br /> <em>Released June 1971</em></p> <p><strong>Legend has it that <em>L.A. Woman</em> was cut entirely live.</strong></p> <p>Not entirely, but a lot of it was live, and the song “L.A. Woman” <em>was</em> completely live. I think that could be the quintessential Doors song, and the way we came up with it was amazing. We just started playing and it came together as if by magic. Jim made a lot of it up as he went along, which is amazing because I think it’s one of his most poetic songs. I can remember Jim sitting in the bathroom with the mic singing and all of us just having a great time.</p> <p><strong>That album was the first time you had a rhythm guitarist— Marc Benno.</strong></p> <p>That was basically just so we could do it live. It freed me up. And we thought it might add a different flavor. I actually enjoyed it, and I didn’t have to do as much overdubbing.</p> <p><strong>You still did some overdubbing; it sounds like there are at least four guitar tracks on “I’ve Been Down So Long.”</strong></p> <p>Yeah, there probably are. Ray played a guitar and Benno played, and I probably overdubbed one too. I think I also overdubbed two or three slide parts.</p> <p><strong>That slide solo is one of your craziest.</strong></p> <p>Definitely. I was just trying to capture a mood without worrying about technique.</p> <p><strong>The beauty of your slide playing — and your blues playing in general — is you don’t mimic the originators. And you never really cleaned your blues up — you left it a little messy. Some white guys tend to be very anal.</strong></p> <p>That’s right. That’s what I didn’t like about Mike Bloomfield — too perfect. I always just tried to do my thing. I could play traditional blues slide, but all the other guys reacted more enthusiastically to my untraditional slide playing. In fact, that’s what got me into the band. Jim always loved my slide playing—he wanted me to play it almost exclusively.</p> <p><strong>Did Jim ever critique your playing?</strong></p> <p>He would always tell me that I was the most underrated guitar player around. What’s funny is that the four of us hardly ever criticized the others’ playing—or even suggested anything. We worked so well together that we hardly ever had to talk about it. Everybody just played the right part in the right place at the right time.</p> <p><strong>“Cars Hiss By My Window” is a rather unusual blues.</strong></p> <p>Yeah. That was our Jimmy Reed piece. Jim was really getting into the blues at that time and he loved it when I would just play straight blues. He’d sit there and make up songs on the spot. He just wanted to play all night. It’s too bad because I really think that had we done another album it would have been a lot more straight blues stuff, which I always loved.</p> <p><strong>How did “Riders on the Storm” develop?</strong></p> <p>We were fooling around with “Ghost Riders in the Sky” one day and somehow it turned into “Riders on the Storm.” It just happened.</p> <p><strong>Another change on <em>L.A. Woman</em> is the absence of reverb, particularly on Jim’s voice, which was so heavily reverbed on your first few albums.</strong></p> <p>Well, Sunset Sound, where we recorded the first two albums, had one of the best echo chambers in the world. It was a live chamber, which they don’t make anymore. And it sounded so great that we used it a lot more than we might otherwise have. We piped everything through there.</p> <p>But <em>L.A. Woman</em> was recorded on an eight-track in our rehearsal space and Paul Rothchild was gone, which is one reason we had so much fun. The warden was gone.</p> <p><strong>So, even after all your success, you still had that sort of relationship with the producer, where he was cracking the whip?</strong></p> <p>Yeah, we just kind of took it for granted that he would produce and we would do things his way — you stick with success. And, finally, he was like a rat deserting a sinking ship. I think he figured it was time to bail.</p> <p><strong>So there was a sense that the Doors were a sinking ship?</strong></p> <p>Yeah, definitely. We couldn’t play anywhere, we were fucked because of the Miami incident. <em>Morrison Hotel</em> didn’t do that well, Jim looked bad and was getting fat… All things considered, I thought it was pretty cool that <em>L.A. Woman</em> did well.</p> <p>I think we came up with something so loose because there was no pressure. We figured we were already screwed, so we were having fun again. we were so far gone that it was like our first album.</p> <p><strong>Just weeks after the album entered the Top Ten, Jim was dead. Do you remember finding out?</strong></p> <p>Yeah. I got a phone call and I didn’t believe it because we used to hear shit like that all the time—that Jim jumped off a cliff or something. So we sent our manager off to Paris, and he called and said it was true.</p> <p><strong>People often talk about the inevitability of him dying young. Do you buy that?</strong></p> <p>No! I thought he would never die. I thought he’d outlive everybody, like one of those Irish drunks who’d drink a fifth of whisky a day and live until they’re 80. He seemed invulnerable, the way he would do things and jump out of windows without getting hurt. I never saw those things, but I would hear about them the next day. For some reason, he was fairly well behaved around me. Somehow our relationship developed where he stayed fairly calm around me, thank God. [<em>laughs</em>]</p> <p><strong>After Jimi Hendrix and Janis Joplin died, Jim supposedly told people that he would be the third to die at 27. Did you remember him saying such things?</strong></p> <p>Yeah. He was definitely obsessed with death. He talked about it all the time.</p> <p><strong>There’s always been talk that he’s not dead, and Ray has occasionally fueled that idea. Have you ever thought that?</strong></p> <p>Yes and no. I’ve allowed myself to fantasize at times, but I’m sure that if he wasn’t dead he would have gotten hold of us by now. But then again, if there’s anybody who could pull off something like that, it was him. I still think about him quite a bit. I always have dreams that he’s alive, and we’re playing together again. Wishful thinking.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/robby-krieger">Robby Krieger</a> </div> <div class="field-item even"> <a href="/doors-0">The Doors</a> </div> </div> </div> </fieldset> 2008 Doors GW Archive Robby Krieger The Doors Interviews News Features Wed, 08 Jan 2014 16:41:52 +0000 Alan Paul Greatest Rock Singers of All Time Readers Poll, Round 1: Ronnie James Dio (Dio, Rainbow, Black Sabbath) Vs. Jim Morrison (The Doors) <!--paging_filter--><p>Why should guitarists have all the fun?</p> <p> recently launched a new readers poll in partnership with <a href="">Samson</a>: the Greatest Rock Singers of All Time Readers Poll.</p> <p>We're certain that, even though our core readership is mainly made up of guitarists from different genres, locations and age groups, you — like us — have strong opinions about the skills (or lack thereof) of some of rock's most legendary singers.</p> <p>And although we had hundreds of rock singers to choose from, we decided to narrow things down to a mere 16 names, all of which were carefully chosen by <em>Guitar World</em>'s editorial staff. We took great care in choosing what's essentially a Sweet 16 starting point. Rock singers from every decade, starting with the 1960s, are represented, as are several rock sub-genres.</p> <p>Here are our 16 rock singers in alphabetical order:</p> <p><strong>Phil Anselmo, Randy Blythe, Kurt Cobain, Chris Cornell, Bruce Dickinson, Ronnie James Dio, Rob Halford, James Hetfield, Mick Jagger, Maynard James Keenan, Freddie Mercury, Jim Morrison, Ozzy Osbourne, Robert Plant, Axl Rose</strong> and <strong>Bon Scott.</strong></p> <p>From there, we drew singers' names out of a hat (It was, in fact, a Black Sabbath baseball cap) to help us create our opening 16-singer bracket, which is available for your viewing pleasure below. Obviously, none of these of singers are ranked or coming from a previously compiled list, so we chose purely random matchups to have as little impact as possible on the final outcome. We're actually pretty pleased with the way the bracket turned out.</p> <p>Remember that, as with any poll, sub-genre might occasionally clash against sub-genre, so you'll just need to decide which singer has or had the most to offer within his genre and time period, which one has or had more natural talent or technical skill, which one had the biggest influence on other singers or rock in general — maybe which one was simply the stronger frontman.</p> <p>Let's get started! As always, you can vote only once per matchup (once per device, that is), and we'll post two matchups per week, continuing with today's shootout, <strong>Ronnie James Dio</strong> of Elf, Dio, Rainbow, Black Sabbath and beyond against <strong>Jim Morrison</strong> of the Doors. </p> <p><span style="font-size:18px;font-weight:bold;">Latest Results</span></p> <p><strong>Winner:</strong> Robert Plant (71.84 percent)<br /> <strong>Loser:</strong> Bon Scott (28.16 percent)</p> <p><span style="font-size:18px;font-weight:bold;">Today's Samson Greatest Rock Singers Round 1 Matchup (3 of 8)</span><br /> <span style="font-size:18px;font-weight:bold;"><em>Ronnie James Dio Vs. Jim Morrison</em></span></p> <p><img src="/files/imce-images/dio.jpg" width="125" height="180" align="left" style="padding:10px 20px 10px 0;" alt="dio.jpg" /><strong>RONNIE JAMES DIO</strong></p> <p><strong>Born:</strong> July 10, 1942, Portsmouth, New Hampshire<br /> <strong>Died:</strong> May 16, 2010, Houston, Texas<br /> <strong>Associated Acts</strong>: Black Sabbath, Rainbow, Dio, Heaven &amp; Hell, Elf, Hear 'n Aid<br /> <strong>Website:</strong> <a href=""></a></p> <p><strong>Quote:</strong> "Music, rock and roll music especially, is such a generational thing. Each generation must have their own music, I had my own in my generation, you have yours, everyone I know has their own generation."</p> <p><iframe width="620" height="400" src="//" frameborder="0" allowfullscreen></iframe></p> <p><br /><br /> <img src="/files/imce-images/jim.jpg" width="125" height="160" align="left" style="padding:10px 20px 10px 0;" alt="jim.jpg" /><strong>JIM MORRISON</strong></p> <p><strong>Born:</strong> December 8, 1943, Melbourne, Florida<br /> <strong>Died:</strong> July 3, 1971, Paris, France<br /> <strong>Associated Acts</strong>: The Doors<br /> <strong>Website:</strong> <a href=""></a></p> <p><strong>Quote:</strong> "I think of myself as an intelligent, sensitive human being with the soul of a clown which always forces me to blow it at the most important moments."</p> <p><iframe width="620" height="400" src="//" frameborder="0" allowfullscreen></iframe></p> <h1>Voting Closed!</h1> <p><strong>Winner:</strong> Ronnie James Dio (68.46 percent)<br /> <strong>Loser:</strong> Jim Morrison (31.54 percent)</p> <p><strong><a href="">Thanks for voting! Check out our current matchup (and every matchup that has taken place so far) right HERE.</a></strong></p> <h1>The Bracket</h1> <p>Check out the latest version of the 16-singer bracket below. We'll update it after each Samson Greatest Rock Singer of All Time matchup.</p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Guitar World&#x2F;Samson Greatest Rock Singers on Scribd" href="" style="text-decoration: underline;" >Guitar World&#x2F;Samson Greatest Rock Singers</a></p> <p><iframe class="scribd_iframe_embed" src="//;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_32973" width="100%" height="420" frameborder="0"></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/dio">Dio</a> </div> <div class="field-item even"> <a href="/doors-0">The Doors</a> </div> <div class="field-item odd"> <a href="/black-sabbath">Black Sabbath</a> </div> <div class="field-item even"> <a href="/rainbow">Rainbow</a> </div> </div> </div> </fieldset> Dio Greatest Rock Singers of All Time Jim Morrison Poll Polls Ronnie James Dio Samson The Doors News Features Tue, 01 Oct 2013 19:10:00 +0000 Guitar World Staff Greatest Guitar Solos of All Time Readers Poll: Round 1 — "Bohemian Rhapsody" (Brian May) Vs. "Light My Fire" (Robby Krieger) <!--paging_filter--><p>A few years ago, the editors of <em>Guitar World</em> magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.</p> <p>The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (Number 100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (Number 1). </p> <p>To quote our <a href="">"Stairway to Heaven" story that ran with the list</a>, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his <em>Close Encounters</em>." </p> <p>We've kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We're pitting <em>Guitar World</em>'s top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we will ask you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket. </p> <p>You can vote only once per matchup. The voting for each matchup ends as soon as the next matchup is posted (Basically, that's one poll per day during the first round of elimination, including weekends and holidays). </p> <p>In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"</p> <p><span style="font-size:18px;font-weight:bold;">Yesterday's Results</span></p> <p><strong>Winner:</strong> "November Rain" (79.36 percent)<br /> <strong>Loser:</strong> "You Really Got Me" (20.64 percent)<br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">Today's Round 1 Matchup (Day 22):</span><br /> <span style="font-size:18px;font-weight:bold;"><em>"Bohemian Rhapsody" Vs. "Light My Fire"</em></span></p> <p>Today, Brian May's guitar solo on Queen's "Bohemian Rhapsody" (20) squares off against Robby Krieger's solo on the Doors' "Light My Fire" (45). Get busy! You'll find the poll at the very bottom of the story.</p> <p><strong><a href="">20. “Bohemian Rhapsody”</a></strong><br /> <strong>Soloist</strong>: Brian May<br /> <strong>Album</strong>: Queen—<em>A Night at the Opera</em> (Hollywood, 1975)</p> <p>“Freddie [Mercury] had the whole piece pretty well mapped out, as I remember, but he didn’t have a guitar solo planned. So I guess I steamed in and said, ‘This is the point where you need your solo, and these are the chords I’d like to use.’ The chord progression for the solo is based on the verse, but with a slight foray into some different chords at the end, to make a transition into the next part of the song. I’d heard the track so many times while we were working on it that I knew in my head what I wanted to play for a solo. I wanted the guitar melody to be something extra, not just an echo of the vocal melody. I had a little tune in my head to play. It didn’t take very long to record.</p> <p>“The next section of the song, the heavy bit, was really part of Freddie’s plan. I didn’t change what he had very much. Those guitar riffs that everybody bangs their heads to are really more Freddie’s than mine. And at the end of that section, I sort of took over. I wanted to do some guitar orchestrations—little violin lines—coming out of that. And it blended in very well with what Freddie was doing with the outro.</p> <p>“We were stretching the limits of technology in those days. Since ‘Bohemian Rhapsody’ was entirely done on 16-track, we had to do a lot of bouncing as we went along; the tape got very thin. This ‘legendary’ story, which people think we made up, is true: we held the tape up to the light one day—we’d been wondering where all the top end was going—and what we discovered was virtually a transparent piece of tape. All the oxide had been rubbed off. It was time to hurriedly make a copy and get on with it.”</p> <p><iframe width="620" height="360" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="">45. "Light My Fire"</a></strong><br /> <strong>Soloist</strong>: Robby Krieger<br /> <strong>Album</strong>: The Doors—<em>The Doors</em> (Elektra, 1967)</p> <p>“Light My Fire” was one of the first songs ever written by Robby Krieger, and his extended solo on the album version was also one of his shining moments as a guitarist. Ironically, however, in order for “Light My Fire” to become a hit for the Doors and Krieger the songwriter, Krieger the guitarist had to swallow his pride and allow his masterly two-and-a-half-minute solo to be trimmed down to its essential opening and closing themes for use on the single.</p> <p>“That always bothered me,” Krieger readily admits. “We never wanted to cut it, but our first single, ‘Break on Through,’ flopped and radio stations told us that ‘Light My Fire’ would be a hit if we cut it down. We didn’t have much choice because AM radio ruled everything, and if you wanted to get on AM you had to have a short song.”</p> <p>The longer solo now regularly broadcast on the radio in its entirety is a perfect distillation of Krieger’s style. A flamenco-trained guitarist who played with his fingers and often evoked sitar-like Eastern sounds with his Gibson SG, Krieger pulled out all the stops on “Light My Fire.” Still, the guitarist says that the complete version on the album is far from his finest effort. “It was the kind of solo that I usually did, but it was different every night. To be honest, the one on the album is not one of my better takes. I only had two tries at it. But it’s not bad; I’m glad that it was as good as it was.”</p> <p><iframe width="620" height="360" src="//" frameborder="0" allowfullscreen></iframe></p> <h1>Voting Closed!</h1> <p><strong>Winner:</strong> "Bohemian Rhapsody" (77.77 percent)<br /> <strong>Loser:</strong> "Light My Fire" (22.23 percent)</p> <p><strong><a href="">Head HERE to see today's matchup and all the matchups that have taken place so far!</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/brian-may">Brian May</a> </div> <div class="field-item even"> <a href="/queen">Queen</a> </div> <div class="field-item odd"> <a href="/robby-krieger">Robby Krieger</a> </div> <div class="field-item even"> <a href="/doors-0">The Doors</a> </div> </div> </div> </fieldset> Brian May Greatest Guitar Solos of All Time Poll Polls Queen Robby Krieger The Doors News Features Mon, 01 Jul 2013 11:55:51 +0000 Guitar World Staff Ray Manzarek, Keyboardist for The Doors, Dead at 74 <!--paging_filter--><p>Keyboardist Ray Manzarek, a founding member of the Doors, died today (May 20) in Rosenheim, Germany, where he was being treated for bile duct cancer. He was 74. </p> <p>Manzarek is best known for his work with the Doors, who formed in 1965 when Manzarek had a chance encounter in Venice Beach, California, with poet Jim Morrison, whom he had met earlier when they were students at UCLA. </p> <p>The Doors went on to become one of the most controversial American rock acts of the 1960s, selling more than 100 million albums worldwide and receiving 19 Gold, 14 Platinum and five multi-Platinum albums in the US alone. "L.A.Woman," "Break On Through (to the Other Side)," "The End," "Hello, I Love You" and "Light My Fire" were just some of the band's iconic and ground-breaking songs. </p> <p>After Morrison's death in 1971, Manzarek went on to become a best-selling author and a Grammy-nominated recording artist in his own right. His memoir, <em>Light My Fire: My Life with The Doors</em>, was published in 1998. In 2002, he revitalized his touring career with Doors' guitarist and long-time collaborator, Robby Krieger.</p> <p>"I was deeply saddened to hear about the passing of my friend and bandmate Ray Manzarek today," Krieger said on <a href="">the band's Facebook page</a>. "I'm just glad to have been able to have played Doors songs with him for the last decade. Ray was a huge part of my life and I will always miss him."</p> <p>"When I first met [Ray], he was the 'big man on campus' at the UCLA film school," Krieger told <em>Guitar World</em> (<a href=",3">Read the full interview here</a>). "In fact, our first gig as a band was to provide music for one of his student films. Afterwards Ray got up in front of an auditorium full of people and gave a speech. I remember it well, because he had them in the palm of his hand. He was down-right mesmerizing. He was a major character, but Jim kind of kept him in his place. Jim was so out there that Ray’s personality was overwhelmed — which, oddly enough, created a good balance."</p> <p>Manzarek was born Raymond Daniel Manczarek Jr. on February 12, 1939, in Chicago. He took private piano lessons as a child but chose basketball over music at an early age. When he was 16, his coach insisted either he play guard or stop playing basketball, so Manzarek quit the team.</p> <p>In the early '60s, he studied in the Department of Cinematography at UCLA, where he met Morrison, a film student. Forty days after finishing film school, Manzarek and Morrison met by chance on Venice Beach. Morrison said he had written some songs, and Manzarek said he wanted to hear them, so Morrison sang a rough version of "Moonlight Drive," which the band would eventually record. Manzarek liked the songs and co-founded the Doors with Morrison on the spot.</p> <p>Manzarek met drummer John Densmore and Krieger at a Transcendental Meditation lecture. Densmore says, "There wouldn't be any Doors without [the] Maharishi."</p> <p>Manzarek is survived by his wife, Dorothy; brothers Rick and James Manczarek, son Pablo Manzarek, Pablo's wife Sharmin and their three children Noah, Apollo and Camille. Funeral arrangements are pending. The family asks that their privacy be respected at this difficult time. In lieu of flowers, please make a memoriam donation in Ray Manzarek's name at <a href=""></a></p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>The Door's Robby Krieger discusses "L.A. Woman" and working with Ray Manzarek</strong></p> <p>“I’ve always considered this <em>the</em> quintessential Doors song. It’s just magical to me, and the way it came about was fantastic. We just started playing and Jim started coming up with those words, and it just poured forth. Jim was sitting in the bathroom, which we were using as an ISO booth, singing. I don’t know how he came up with that whole concept on the spot like that, but he did. You would think that would have been a poem that he had written before, as many of our songs were, but it’s not. That was just written on the spot.</p> <p>“It’s very natural and sums up a lot of our best qualities. All the interplay with Ray just happened. We really understood each other at that point. We could anticipate where one another were headed and just play.”</p> <p><iframe width="620" height="450" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/doors-0">The Doors</a> </div> </div> </div> </fieldset> Ray Manzarek The Doors News Mon, 20 May 2013 23:42:27 +0000 Damian Fanelli Video and Photo Gallery: The Doors Launch Interactive iPad App <!--paging_filter--><p>The Doors are once again poised to break on through with a first-of-its-kind iPad app, <em>The Doors</em>, available exclusively on the App Store. </p> <p>Released by Warner Music Group’s Rhino Entertainment, the app brings the band’s story to life with an unprecedented immersive experience that delves deeply into every aspect of the Doors’ career with interactive content, unpublished band images and artwork, rare videos, music and more.</p> <p><em>The Doors</em> was conceived and produced by Elektra Records founder and Warner Music legend Jac Holzman, who signed the Doors to the label in 1966, and Robin Hurley; along with the participation of drummer John Densmore, guitarist Robby Krieger and keyboardist Ray Manzarek, and the estate of Jim Morrison. </p> <p>“The genesis of this project began with a desire to digitize the boxed set, to use new technology to improve upon a much-loved fan experience. It made total sense to choose the Doors. They have always been ‘ahead of the curve’ artists and their story is one of the great sagas in rock,” Holzman says. “Together with the band, we tell a compelling tale using materials from the Doors’ own archives and the Warner Music vault plus the hundreds of other sources we chased down — a wealth of treasures including previously unseen photos, fresh interviews, and behind the scenes insights and reflections."</p> <p>An intimate portrait of the band enjoying a drink at the Hard Rock Café — taken by legendary photographer Henry Diltz during a shoot for the Morrison Hotel album — greets visitors on the home page and guides them on a journey through the living history of one of rock’s most fascinating and incendiary groups.</p> <p><em>The Doors</em> app is divided into several sections, with the The Story button leading to the true centerpiece, proving endlessly intriguing for both veteran fans and new initiates with hundreds of photos, videos, and interviews. All six albums recorded by the original Doors foursome, as well as the two albums recorded later by the Doors as a trio, are spotlighted here through essays from counterculture icons including Patti Smith and Hunter S. Thompson, Doors historians such as David Fricke, Greil Marcus, and archivist David Dutkowski. </p> <p>Among the other centerpieces of The Story section is a graphic novelization of the notorious Miami Incident, where Morrison was falsely accused of exposing himself during a 1969 concert. The infamous episode comes to life here through drawings by award-winning comic book artist Dean Haspiel, words by Adam Holzman (son of Jac), and rare audio of Morrison recorded during the show.</p> <p>The app features more than 500 images including band photos, album art, singles, international releases and memorabilia (posters, ticket stubs, advertisements, press releases, contracts, and related correspondence). </p> <p><strong><em>The Doors</em> app costs $4.99 and is available at the App Store or <a href="">at this location.</a></strong></p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/doors-0">The Doors</a> </div> <div class="field-item even"> <a href="/robby-krieger">Robby Krieger</a> </div> </div> </div> </fieldset> The Doors News Thu, 16 May 2013 21:38:18 +0000 Guitar World Staff Gig Review: Wild Child, 'the Ultimate Doors Tribute Act,’ Perform Live on National Television <!--paging_filter--><p>A lot of people don't hold tribute bands in the highest regard. After all, they're playing somebody else’s music. </p> <p>But most of these people might not be aware that the tribute-band scene in Los Angeles is huge. Quite a few tribute acts have their own followings and are invariably successful when it comes to selling out prestigious venues. </p> <p>Wild Child, a Doors tribute band, have been around for more than 20 years, and it’s time they got some recognition for their unending dedication to the music they’ve loved and mastered. Thanks to AXS TV’s series, <em>The World’s Greatest Tribute Bands</em>, Wild Child got a spot on national TV on May 6, playing in front of a packed Roxy Theatre crowd.</p> <p>Having seen this band several times before at venues like the House Of Blues and the Whisky A Go Go, I knew what to expect in terms of the performance level. This time, I was curious about how they'd make the same impact within an hour’s time, since they usually play much longer sets. </p> <p>After being introduced, they took the Roxy by storm, belting out one classic after another. Starting with the fitting "Break On Through," they brought their A game from the get-go. Singer Dave Brock is a well-known figure in local circles, as he has not only kept this band going strong all these years but now also performs with actual Doors Ray Manzarek and Robbie Krieger. You can’t get any better than Dave when it comes to impersonating Jim Morrison’s voice, mannerisms and appearance. </p> <p>Having said that, it’s not all about Brock. His band mates mesh well with him and play their part in recreating the Doors’ magic. In this set, despite the time limit, they managed to include awe-inspiring renditions of some of the Doors’ biggest hits, such as "Riders On The Storm," "Roadhouse Blues," "Light My Fire" and "LA Woman," and they were full versions at that; nothing was abridged.</p> <p>The crowd had an absolute ball during Wild Child’s set, which came to a close with "When The Music’s Over." With that, the band thanked everyone, took a bow and gracefully exited the stage. </p> <p>If you’re even remotely a Doors fan and happen to live in Southern California, don't miss out on this experience! Visit their <a href="">official website</a> for all the information. All in all, it was a fantastic performance by Wild Child, one worthy of their spot on AXS TV’s <em>Greatest Tribute Bands</em> series. </p> <p>Also check out to see what tributes AXS TV has coming up in this series.</p> <p><strong>Wild Child Set List:</strong></p> <p>01. Break On Through<br /> 02. Love Me Two Times<br /> 03. Soul Kitchen<br /> 04. People Are Strange<br /> 05. Hello, I Love You<br /> 06. Alabama Song<br /> 07. Love Her Madly<br /> 08. Touch Me<br /> 09. Riders On The Storm<br /> 10. Roadhouse Blues<br /> 11. Light My Fire<br /> 12. LA Woman<br /> 13. When The Music’s Over</p> <p><img src="/files/imce-images/2013-05-06%2019.17.35.jpg" width="620" height="465" alt="2013-05-06 19.17.35.jpg" /></p> <p><em>Andrew Bansal is a writer who has been running his own website, <a href="">Metal Assault</a>, since early 2010, and has been prolific in covering the hard rock and heavy metal scene by posting interviews, news, reviews and pictures on his website — with the help of a small group of people. He briefly moved away from the Los Angeles scene and explored metal in India, but he is now back in LA continuing from where he left off.</em></p> Andrew Bansal AXS TV The Doors Blogs Features Mon, 13 May 2013 21:56:32 +0000 Andrew Bansal Remastered 'The Doors Live At The Bowl ’68' Coming to DVD/CD October 23 <!--paging_filter--><p>On October 23, Eagle Rock Entertainment will release a remastered version of The Doors' July 5, 1968, performance at the Hollywood Bowl.</p> <p><em>The Doors Live At The Bowl '68</em> will be released as a Blu-Ray ($19.98), DVD ($14.98), digital video ($12.99), CD ($18.98), digital audio ($11.99) and double-LP ($34.98).</p> <p>This concert, which is believed to be the band's finest show caught on film, has been restored by using original camera negatives. The audio has been remixed and mastered from original multi-tracks by the group’s engineer, Bruce Botnick. </p> <p><em>The Doors Live At The Bowl '68</em> also will include three previously unreleased tracks from the performance; they weren't released in the past because of technical issues with the recording. Those tracks are “Hello, I Love You,” “The WASP (Texas Radio And The Big Beat)” and “Spanish Caravan.”</p> <p>The DVD, Blu-Ray and digital video each feature a 16x9 high-definition digital transfer with a stereo and 5.1 audio soundtrack. There is more than an hour of bonus material, including "Echoes From The Bowl”; “You Had To Be There” and “Reworking The Doors,” an in-depth look at how the film was restored.</p> <p><strong>LIVE AT THE BOWL ’68 Track Listing </strong> </p> <p>01. Show Start/Intro<br /> 02. “When The Music’s Over”<br /> 03. “Alabama Song (Whisky Bar)”<br /> 04. “Back Door Man”<br /> 05. “Five To One”<br /> 06. “Back Door Man” (Reprise)<br /> 07. “The WASP (Texas Radio And The Big Beat)”<br /> 08. “Hello, I Love You”<br /> 09. “Moonlight Drive”<br /> 10. “Horse Latitudes”<br /> 11. “A Little Game”<br /> 12. “The Hill Dwellers”<br /> 13. “Spanish Caravan”<br /> 14. Hey, What Would You Guys Like To Hear?<br /> 15. “Wake Up!”<br /> 16. Light My Fire (Segue)<br /> 17. “Light My Fire”<br /> 18. “The Unknown Soldier”<br /> 19. The End (Segue)<br /> 20. “The End”</p> Jim Morrison John Densmore Ray Manzarek Robby Krieger The Doors News Wed, 15 Aug 2012 17:03:27 +0000 Lukasz Bielawski Friday List: 10 Great Songs Over 10 Minutes Long <!--paging_filter--><p><em>Just because a song is long doesn't mean it's epic. In this week's Friday List, we take a look at some of the best guitar songs to ever eclipse the 10-minute mark.</em></p> <p><strong>Guns N' Roses — "Coma" (10:16)</strong></p> <p>When <em>Guitar World</em> asked new Guns N' Roses guitarist Gilby Clarke which song in the band's back catalog was the toughest to learn, he answered with no hesitation, "Without a doubt, 'Coma.' I still don't know it. It's like this 15- or 20-minute song with no repeats."</p> <p>On a pair of albums with no shortage of long, challenging songs, "Coma" stands out as perhaps the most challenging and definitely the longest. While the live version could peak at nearly 20 minutes in length, the studio version came in at just over 10, plenty of time for Axl, Slash and Co. to pack in everything but the kitchen sink — and that includes a defibrillator.</p> <p>As Gilby implied, "Coma" lacks any semblance of a definable chorus, all the more fitting for a song that sees the band taking listeners on a visceral journey through the mind of a coma patient.</p> <p>Oh, and when we asked Gilby what his favorite Guns N' Roses song to play was, he said, "Oddly enough, 'Coma.' I really love playing it because it's different every time."</p> <p><a href=";offerid=146261.364748&amp;type=2&amp;subid=0">Buy <em>Use Your Illusion</em> on iTunes</a></p> <p><iframe src="" width="300" height="380" frameborder="0" allowtransparency="true"></iframe></p> <hr /> <p><strong>Iron Maiden — "Rime of the Ancient Mariner" (13:43)</strong></p> <p>The list of bands that could write a 13-plus-minute song based on an 18th-century poem by Samuel Taylor Coleridge and make it rock is pretty short, and the only one ballsy enough to try it — and succeed — was Iron Maiden.</p> <p>The band's longest and perhaps most-ambitious undertaking to date, Maiden's "Rime of the Ancient Mariner" closes out <em>Powerslave</em> with a re-telling of Coleridge's epic tale of a maritime curse, which includes a pretty grim scene of a sailor stuck at sea with the corpses of his shipmates for a week after he allegedly brings a hex upon the ship for killing an albatross.</p> <p>The track put an exclamation point on the classic Maiden era, serving as a fitting bookend to an astounding trio of albums that also includes <em>The Number of the Beast</em> and <em>Piece of Mind</em>.</p> <p><a href=";offerid=146261.448437515&amp;type=2&amp;subid=0">Buy <em>Powerslave</em> on iTunes</a></p> <p><iframe src="" width="300" height="380" frameborder="0" allowtransparency="true"></iframe></p> <hr /> <p><strong>Led Zeppelin — "Achilles Last Stand" (10:25)</strong></p> <p>Listening to the pummeling, proto-Maiden gallop of "Achilles Last Stand," you'd never know the song was written during one of the darker points in Led Zeppelin history.</p> <p>Most of <em>Presence</em> was written and recorded while singer Robert Plant was in convalescent period after suffering serious injuries in a car crash in late summer of 1975. Despite all the trials and tribulations — which included Plant being wheelchair-bound for most of the rehearsals and recording sessions — the band miraculously recorded <em>Presence</em> in just 18 days.</p> <p>Plant would later say that "Achilles Last Stand" and "Candy Store Rock" were the album's saving grace, thanks to "the rhythm section, on that it was so inspired."</p> <p>Indeed the track is a testament to the raw power of Zeppelin's dynamic rhythm duo, with John Paul Jones holding down the galloping rhythm while Bonzo pounded away in furious fashion.</p> <p>While the track and the album are often looked over by casual fans, Jimmy Page — who recorded the orchestral overdubs in a single session in Munich, Germany — would later call <em>Presence</em> the band's "most important album."</p> <p><iframe width="620" height="465" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Tool — "Rosetta Stoned" (11:11)</strong></p> <p>Even without its nearly four-minute intro, "Lost Keys (Blame Hoffman)," Tool's "Rosetta Stoned" still clocks in at an impressive 11 minutes and 11 seconds of acid-tinged hard rock.</p> <p>Among Tool's downright heaviest numbers, the song pushes and plods its way through a lengthy narrative, backed by Adam Jones' grinding, off-kilter guitar riffs and the always-potent rhythm section of bassist Justin Chancellor and drummer extraordinaire Danny Carey.</p> <p>While much of singer Maynard James Kennan's opening spiel might be lost on listeners, the track tells the tale of a high-school dropout encountering an extra-terrestrial that looked like "a blue-green Jackie Chan with Isabella Rossellini lips and breath that reeked of vanilla Chig Champa." The alien then proceeds to inform the song's protagonist that he is the chosen one and imparts the secrets of the universe unto him.</p> <p>The narrative ends with our hero realizing he's forgotten his pen and must return to Earth remembering nothing of the meaning of existence. A fitting end considering Tool's strength as a band has always been the ability to write complex, thought-provoking rock music without ever losing their sense of humor.</p> <p><iframe width="620" height="349" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Pink Floyd — "Dogs" (17:04)</strong></p> <p>We couldn't have gone wrong picking any of Pink Floyd's sprawling compositions — hell, <em>Animals</em> alone has three — but "Dogs" somehow manages to capture the vital energy, wordly cynicism and pent-up frustration that makes Floyd more than just another mellow prog band.</p> <p>Originally written in 1974 by Gilmour as "You Gotta Be Crazy," it took only a change of key, a slowing of tempo and the mighty pen of Roger Waters to transform the song into a its final form as arguably the centerpiece of Pink Floyd's underrated classic.</p> <p>Gilmour turns in his lone vocal appearance on <em>Animals</em> during "Dogs," but his majestic, double-tracked guitar leads are the real star, adding a dreamlike quality that seems to further the metaphorical blur between businessmen and farm animals. </p> <p>While you may be tempted to think the guitar sound of "Dogs" is all Gilmour's fabled Strat, he's actually playing a Fender Custom Telecaster on the track, which he pairs with a Yamaha RA-200 cabinet containing three rotating speakers for most of the song.</p> <p><iframe width="620" height="465" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>Dream Theater — "Octavarium" (24:00)</strong></p> <p>With five movements and three lyricists, "Octavarium" remains a crowning achievement in the back catalog of a band who have made a career on always topping themselves. </p> <p>After heading into far heavier waters than ever before on 2003's <em>Train of Thought</em>, Dream Theater set out to create "a classic Dream Theater album" on <em>Octavarium</em>, which means essentially pulling out every trick in the book while still serving the songs. (It's well-documented that the band wrote each of the album's eight songs in a different key.)</p> <p>Nowhere is this more evident than the album's title track, which serves as a microcosm for what the band was trying to accomplish on the album. Beginning with a lengthy lap steel guitar solo from keyboardist Jordan Rudess, the track navigates through five distinct-yet-connected narratives, quoting from and acknowledging many of the band's influences along the way.</p> <p>One could spend hours dissecting the themes and references found within the 24-minute track, and if you're inclined to do so, you might want to start with the song's lengthy <a href="">Wikipedia</a> page.</p> <p><a href=";offerid=146261.65615441&amp;type=2&amp;subid=0">Buy <em>Octavarium</em> on iTunes</a></p> <p><iframe src="" width="300" height="380" frameborder="0" allowtransparency="true"></iframe></p> <hr /> <p><strong>The Doors — "The End" (11:41)</strong></p> <p>When their eponymous debut album came out in 1967, no one quite knew what to make of the Doors and their bizarrely charismatic frontman Jim Morrison.</p> <p>What began as a simple break-up song eventually evolved into an ominous, Oedipal and occasionally ravenous performance from Morrison, particularly in the song's spoken-word portion that begins, "The killer awoke before dawn ... "</p> <p>"Every time I hear that song, it means something else to me. It started out as a simple good-bye song," Morrison told <em>Rolling Stone</em> in 1969. "Probably just to a girl, but I see how it could be a goodbye to a kind of childhood. I really don't know. I think it's sufficiently complex and universal in its imagery that it could be almost anything you want it to be. "</p> <p>Robby Krieger also turned in one of his most memorable guitar solos on "The End," which was good enough to make <em>Guitar World</em>'s list of the 100 Greatest Guitar Solos, coming in at No. 93.</p> <p><a href=";offerid=146261.167358001&amp;type=2&amp;subid=0">Buy <em>The Doors</em> on iTunes</a></p> <p><iframe src="" width="300" height="380" frameborder="0" allowtransparency="true"></iframe></p> <hr /> <p><strong>Jimi Hendrix — "Voodoo Chile" (15:00)</strong></p> <p>While they both appear on 1968's <em> Electric Ladyland</em>, Jimi Hendrix's "Voodoo Chile" has far earlier roots than its close cousin, "Voodoo Child (Slight Return)."</p> <p>Coming in at 15 minutes flat, the more traditional blues of "Voodoo Chile" started life as "Catfish Blues," a live jam and homage to the great Muddy Waters, of whom the young Hendrix was a great admirer.</p> <p>Recorded in only three takes — and at 7:30 in the morning after a night out on the town in New York City, no less — the song incorporates tricks and licks from all eras of the blues, with Hendrix guiding the listener through the genre's pedagogy as he pays his dues to his heroes. </p> <p>Today, "Voodoo Child (Slight Return)" may be known as one of Hendrix's definite songs, but its original version still holds the distinction of being the legendary guitarist's only song to reach No. 1 in the U.K. singles charts.</p> <p><a href=";offerid=146261.357652252&amp;type=2&amp;subid=0">Buy <em>Electric Ladyland</em> on iTunes</a></p> <p><iframe src="" width="300" height="380" frameborder="0" allowtransparency="true"></iframe></p> <hr /> <p><strong>Rush - "2112" (20:38)</strong></p> <p>After having an album come over as a commercial flop, most bands under pressure from their record labels would turn in a nice batch of short, easy-to-digest songs for their next album. </p> <p>Not Rush.</p> <p>Instead, after 1975's <em>Caress of Steel</em> didn't move a substantial number of copies, the Canadian prog-rock trio turned in their most challenging — and ultimately one of their most successful — albums to date.</p> <p>Eclipsing the 20-minute mark, the title track to Rush's <em>2112</em> album kicks off with a sci-fi-themed overture before guiding the listener through a storyline not dissimilar to the one found in Ayn Rand's 1938 novella <em>Anthem</em>. </p> <p>Through seven movements, Rush's unnamed protagonist who sees the light, so to speak, after finding a guitar in a cave by a waterfall, shaking his perceptions, igniting his creative spirit and eventually pitting him against dark forces that seek to stifle original thought. </p> <p>If that's not a rock and roll epic, we don't know what is.</p> <p><a href=";offerid=146261.129706&amp;type=2&amp;subid=0">Buy <em>2112</em> on iTunes</a></p> <p><iframe src="" width="300" height="380" frameborder="0" allowtransparency="true"></iframe></p> <hr /> <p><strong>Lynyrd Skynyrd — "Free Bird" (10:08)</strong></p> <p>You've yelled it out at concerts. You've held your lighter in the air to it more times than you can count. It makes you tear up whenever you see Old Glory. How could we not end this epic list without "Free Bird"?</p> <p>Whittled down to under five minutes for the single and just over nine on the album — 1974's <eM>(pronounced 'lĕh-'nérd 'skin-'nérd)</em> — the "full" version of "Free Bird," in all its majesty, only barely eclipses the 10-minute mark. </p> <p>Lynyrd Skynyrd's crowning achievement has its origins in a keyboard piece played during a high school prom, one which netted then-roadie Billy Powell a job as the band's keyboard player.</p> <p>Armed with a Gibson SG, a glass Coricidin bottle for a slide and a small piece of metal slid under the strings to raise the action, lead guitarist Gary Rossington set out to pay tribute to Duane Allman on the song's tender intro, doing more than OK by his late hero, who passed away in 1971.</p> <p>Rossington ditched the SG for a Les Paul by the time he joined fellow guitarist Allen Collins for the song's trademark ending, a marathon guitar solo that somehow always leaves the audience begging for more.</p> <p><a href=";offerid=146261.2581299&amp;type=2&amp;subid=0">Buy <em>Pronounced Leh-Nerd Skin-Nerd</em> on iTunes</a></p> <p><iframe src="" width="300" height="380" frameborder="0" allowtransparency="true"></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/iron-maiden">Iron Maiden</a> </div> <div class="field-item odd"> <a href="/doors-0">The Doors</a> </div> </div> </div> </fieldset> Dream Theater Guns N' Roses Iron Maiden Jimi Hendrix Led Zeppelin Lynyrd Skynyrd Pink Floyd Rush The Doors Tool Features Fri, 15 Jun 2012 19:34:14 +0000 Josh Hart Jimi Hendrix, Jim Morrison Holograms in the Works <!--paging_filter--><p>After a Tupac hologram was unveiled at this year's Coachella festival (If you haven't seen the video yet, watch it below), most music fans couldn't help but ask the question, who's next?</p> <p>According to a <a href="">new report from <em>Billboard</em></a>, Jimi Hendrix, Jim Morrison and Elvis Presley may be among the next holograms to appear on stage.</p> <p>Hendrix's sister Janie, who is president/CEO of Experience Hendrix, confirmed that the plans for a hologram of her late brother have been in the works for nearly a year, but also said there was no guarantee it would ever see the light of day if it wasn't just right.</p> <p>"For us, of course, it's about keeping Jimi authentically correct," she said. "There are no absolutes at this point."</p> <p>Doors manager Jeff Jampol says he's been looking into the idea for nearly eight years now and hopes to be able to bring a 3D experience to Doors fans sometime soon.</p> <p>"We're trying to get to a point where 3D characters will walk around," he told <em>Billboard</em>. "Hopefully, 'Jim Morrison' will be able to walk right up to you, look you in the eye, sing right at you and then turn around and walk away."</p> <p>As for the King, Digital Domain Media Group, the company that created theTupac hologram, recently signed deal with Core Media Group to produce a variety of "virtual" Elvis holograms for different uses.</p> <p>What do you think of your favorite musical legends being turned into holograms? Sound off in the comments!</p> <p><iframe width="620" height="480" src="" frameborder="0" allowfullscreen></iframe></p> Elvis Presley Jim Morrison Jimi Hendrix The Doors News Wed, 13 Jun 2012 14:35:16 +0000 Josh Hart Interview: The Doors' Robby Krieger Discusses Some of the Best Tracks on Reissued 'L.A. Woman' Album <!--paging_filter--><p>The Doors were at a low point in December 1970, when they gathered to begin recording their sixth studio album. </p> <p>They had been banned from performing after singer Jim Morrison’s prosecution for exposing himself at a Miami concert on March 1, 1969, effectively killing their stage career. </p> <p>Their previous album, <em>Morrison Hotel</em>, released in February 1970, had failed to break out. The group was enveloped in a general sense of doom and decline.</p> <p>“We were pretty far down. People were saying we were over,” guitarist Robby Krieger recalls. “We couldn’t play anywhere. <em>Morrison Hotel</em> hadn’t done much. Jim was getting fat. Nothing really seemed to be happening, and we didn’t have much material when we started the sessions.”</p> <p>Then things really started to get bad. “Before we even started recording, our producer walked out on us,” Krieger says.</p> <p>That was Paul Rothchild, who had been behind the boards for each of the Doors’ first five studio albums. During preproduction in the band’s rehearsal space—where they would record the album to maintain a more informal feel—Rothchild, frustrated by what he heard, determined that the Doors were running into creative dead ends. He wished them well and walked out. Engineer Bruce Botnick took over the reins, and that low moment became a catalyst for one of the band’s landmark albums: <em>L.A. Woman</em>. </p> <p>In celebration of the disc’s 40th anniversary, Elektra has released a new two-CD version of it that includes alternate takes of album tracks like “Love Her Madly,” “Riders on the Storm” and the title song, as well as a never-before-heard original, “She Smells So Nice,” recording during the sessions. Much to the surprise of Krieger, keyboardist Ray Manzarek and drummer John Densmore, Botnick discovered the track, a loose blues jam that segues into B.B. King’s “Rock Me Baby,” while reviewing the <em>L.A. Woman</em> tapes for the reissue. </p> <p>“I think we came up with an album so loose and cool that it has stood up for 40 years because there was no pressure,” Krieger says. “We figured we were screwed, so we started having fun again. We were so far gone that it was like a weight was lifted when Paul left. He was a great producer, and you can’t argue with the stuff we did with him, but he was always a very difficult guy to work for. He was a perfectionist, and we were looking forward to having the dictator off our back and just having some fun recording for once, which is exactly what happened.</p> <p>“Before that time, we probably weren’t ready to do something like that—we really needed Paul. But after five albums we all knew how to record and what a good take sounded like, and we ended up recording everything in a couple of takes, maintaining a very loose vibe and energy throughout. It was great the way it came together, with everyone chipping in and contributing.”</p> <p><em>L.A. Woman</em> was released in April 1971, but what might have been a new start proved instead to be a farewell. Just three months later, Morrison died while in Paris. “It’s just too bad that what we tapped into on <em>L.A. Woman</em> didn’t last longer,” Krieger says. “Jim had been pretty uninvolved in some of the albums, but he was right in there with us on this, and that’s a big part of what made it so special.”</p> <p>To commemorate <em>L.A. Woman</em>’s anniversary and reissue, Krieger shared his memories of some of the album’s greatest moments.</p> <p><strong>“L.A. Woman”</strong></p> <p>“I’ve always considered this <em>the</em> quintessential Doors song. It’s just magical to me, and the way it came about was fantastic. We just started playing and Jim started coming up with those words, and it just poured forth. Jim was sitting in the bathroom, which we were using as an iso booth, singing. I don’t know how he came up with that whole concept on the spot like that, but he did. You would think that would have been a poem that he had written before, as many of our songs were, but it’s not. That was just written on the spot.</p> <p>“It’s very natural and sums up a lot of our best qualities. All the interplay with Ray just happened. We really understood each other at that point. We could anticipate where one another were headed and just play.”</p> <p><iframe width="620" height="450" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“Been Down So Long It Looks Like Up to Me”</strong></p> <p>“Marc Benno played second guitar on four of the songs on this session. The idea was I’d be able to play the parts live and not have to overdub the solos, and it really worked. We recorded this live, with Marc playing the rhythm, so I could just play the leads, fills and slide. I kind of get embarrassed when I hear it now, because it’s so loose; it would be hard for me to leave something this sloppy on a record now, but I’m glad I did. It’s part of the charm of the song and of the Doors.”</p> <p><iframe width="620" height="450" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“Cars Hiss By My Window”</strong></p> <p>“That was really done on the fly, all live. We wanted to pay homage to [<em>bluesman</em>] Jimmy Reed. I started playing in E, and this song just happened. I love it.” </p> <p><iframe width="620" height="450" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <strong>“She Smells So Nice”/“Rock Me”</strong> <p>“It’s amazing that we found anything new after all these years and all these reissues. We keep looking in those vaults, and I guess we’ve never done a thorough job—we always seem to find something. Bruce Botnick found this, and I was glad he did. It was a lot of fun to listen to, because it’s really typical of the kind of jams we used to do to warm up and get ready for a session.</p> <p>“It’s also interesting to hear Jim use the ‘Mr. Mojo Rising’ line that he used so famously in ‘L.A. Woman,’ and which I had not recalled him pulling out in a jam like this. There are different stories about where he came up with it. That witch [<em>Patricia Kennealy, who is said to have married Morrison in a Wiccan ceremony</em>] claims to have told him about anagrams, and apparently they came up with that one night at her place, but I have never known whether or not that was true.”</p> <p><iframe width="620" height="450" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“Riders on the Storm”</strong></p> <p>“We had some practice sessions and took along a couple of demos when we started recording. This was one that Paul heard, and he hated it. It was one of the things that led him to walk out. The song had come about quite naturally. We were fooling around, getting loose by playing the Ventures’ great guitar instrumental ‘Ghost Riders in the Sky,’ and it just kind of morphed into something else through jamming and Ray playing off me. I was playing with this cool tremolo sound that the Ventures favored, and kept it going once ‘Ghost Riders’ became ‘Riders on the Storm.’</p> <p>“I really feel that if you’re a real band, jamming can be the best way to write songs. You discover things and latch onto great riffs and interlocking parts, and we were doing that more and more with Jim becoming more involved in these sessions. I truly believe that if he had stuck around a little longer we would have continued in that direction.”</p> <p><iframe width="620" height="450" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“L.A. Woman”/“Love Her Madly”/“Riders on the Storm” (alternate versions)</strong></p> <p>“It’s fun to hear different version of these songs. When we searched our vaults for the box set, we found alternate takes of ‘Roadhouse Blues,’ including one that I really preferred and wished we had used. Ever since, we’ve been searching for outtakes, and when Bruce called and said he had heard outtakes, I was really excited. </p> <p>“It’s nice to hear them but hard to say that I prefer any of them over what we used. It’s not as simple as that, because after you pick a take, then you end up refining and overdubbing and it becomes almost a different song.”</p> <p><iframe width="620" height="450" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“The WASP (Texas Radio and the Big Beat)”</strong></p> <p>“This just has all kinds of weird things in it. In fact, Ray hates to play it, because he always forgets it. When you try to play it with people, they always say, ‘That doesn’t make sense. Why do you do this here and not go here?’ There’s no explanation. We just kind of knew when to come in, when to get out, when to make the changes and what one another was going to do. Generally, Ray set the pace and we had to follow or it would all fall apart. He just did what he wanted.</p> <p>“A lot of these songs seem easy to play, but they’re not. They have extra bars in them or inconsistent turnarounds—things I would never do, now that I know more about music, but which helped make them memorable and relevant to this day. At the time, the simplest things could amaze me, like a minor chord going to a major chord.”</p> <p><iframe width="620" height="450" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>“Hyacinth House”</strong></p> <p>“I had a little house up in Benedict Canyon, which is near Laurel Canyon. Jim and John and a couple other people came over there one night, and we were just fooling around, taping some stuff. The song makes a reference to some hyacinth flowers right outside the window. And in that line about the bathroom, Jim was talking about this friend of ours who was there who kept hogging the bathroom all night. Jim wanted to go to the bathroom, and he couldn’t. Finally, the guy got out of the bathroom, and Jim goes, ‘I see the bathroom is clear,’ which is the line in ‘Hyacinth House.’ He wrote the song on the spot, and I think that was how some of the best Doors songs were written. </p> <p>"Then we just recorded it on my little Sony four-track, which was a real nice, high-quality tape recorder. To call it a home studio is kind of funny, but it was a pretty revolutionary piece of home machinery at the time.</p> <p>“At the time, I had a pet bobcat, which would mostly stay outside. That’s where Jim got that line in the song about the lions. I saw her in a pet store when she was a cute little kitten and said, ‘She looks just like a bobcat,’ and the guy said, ‘She <em>is</em> a bobcat.’ She was a great pet for about three years and then she got a little bit nasty. </p> <p>"She was getting real big, and kind of dangerous, so I didn’t let people pet her or anything. I gave her to this weird guy who loved jungle cats and specialized in taking people’s pets that had gotten too big and releasing them into the wilds in the Ventura County mountains. But he claimed that she attacked him and he had to shoot her. Poor kitty. But at least she is remembered forever as the ‘lion’ in ‘Hyacinth House.’ ” </p> <p><iframe width="620" height="450" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/doors-0">The Doors</a> </div> <div class="field-item even"> <a href="/robby-krieger">Robby Krieger</a> </div> </div> </div> </fieldset> GW Archive Robby Krieger The Doors Interviews Features Mon, 07 May 2012 16:58:35 +0000 Alan Paul The Doors Release New Music Video for "L.A. Woman" <!--paging_filter--><p>It's hard to believe I just typed the words "The Doors release new music video" in 2012.</p> <p>That said, the band do indeed have a new music video. You can watch the clip for the new single version of "L.A. Woman" below.</p> <p>The clip features "professional skateboarders Kenny Anderson, Alex Olson and Braydon Szafranski, who take viewers on a 'Doors-centric' skateboarding tour of Los Angeles." The video was directed by Matt Goodman.</p> <p>As the band noted via their Facebook page, the video also features a new single version of "L.A. Woman," as this is the first time the track has ever been released as a single. </p> <p>The 40th anniversary edition of <em>L.A. Woman</em> was released in January,</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/doors-0">The Doors</a> </div> </div> </div> </fieldset> The Doors News Mon, 19 Mar 2012 16:07:30 +0000 Josh Hart