1 00:00:15,436 --> 00:00:23,276 Speaker 1: Pushkin. Hey everyone, Today we have a fun follow up 2 00:00:23,316 --> 00:00:26,476 Speaker 1: to last week's episode with Johnny Echoes from the band Love. 3 00:00:27,276 --> 00:00:30,036 Speaker 1: This week we'll hear Rick interview the last two living 4 00:00:30,076 --> 00:00:34,636 Speaker 1: members of The Doors, guitarist Robbie Krieger and drummer John Densmore, 5 00:00:35,116 --> 00:00:37,876 Speaker 1: about coming up in the LA rock scene alongside Love, 6 00:00:38,236 --> 00:00:42,356 Speaker 1: who the Doors idolized and then later eclipsed. The Doors 7 00:00:42,396 --> 00:00:45,516 Speaker 1: formed in nineteen sixty five and burned white hot until 8 00:00:45,556 --> 00:00:48,316 Speaker 1: the death of their larger than life lead singer Jim Morrison. 9 00:00:48,716 --> 00:00:52,436 Speaker 1: They're released six albums in only five years, and then 10 00:00:52,476 --> 00:00:54,996 Speaker 1: that brief time as a band, The Doors quickly became 11 00:00:55,036 --> 00:00:58,556 Speaker 1: one of the biggest acts of the sixties. Their antiflower 12 00:00:58,596 --> 00:01:02,516 Speaker 1: power appeal was accentuated by Jim Morrison's brooding lyrics and 13 00:01:02,636 --> 00:01:07,236 Speaker 1: keyboardist Raymond zeris frenzied organ Lakes. On today's episode, Rick 14 00:01:07,316 --> 00:01:09,996 Speaker 1: Ruban talks to Robbie Krieger and John ends More about 15 00:01:09,996 --> 00:01:13,676 Speaker 1: their tumultuous history with Jim Morrison, who John refers to 16 00:01:13,836 --> 00:01:17,276 Speaker 1: as a Kama Kazi drunk. Both Robbie and John recall 17 00:01:17,436 --> 00:01:20,276 Speaker 1: LSD fueled stories from their early gigs with The Doors 18 00:01:20,556 --> 00:01:26,636 Speaker 1: and the role Acapulco Gold played in Jim Morrison's songwriting process. 19 00:01:27,796 --> 00:01:30,956 Speaker 1: This is broken record liner notes for the Digital Age. 20 00:01:31,196 --> 00:01:35,356 Speaker 1: I'm justin Mitchman. Here's Rick Rubin with doors, guitarist Robbie 21 00:01:35,396 --> 00:01:39,156 Speaker 1: Krieger and drummer John Densmore. Well, thank you so much 22 00:01:39,196 --> 00:01:42,076 Speaker 1: for doing this. I thought it would be interesting to 23 00:01:42,116 --> 00:01:45,876 Speaker 1: talk about the album Love Forever Changes, because I love 24 00:01:45,956 --> 00:01:50,476 Speaker 1: that album and it seems unusual. Yeah. It, first of all, 25 00:01:50,476 --> 00:01:53,276 Speaker 1: it doesn't sound like even Loves other records. The ones 26 00:01:53,276 --> 00:01:56,556 Speaker 1: that earlier were more rock, yeah, and then Forever Changes 27 00:01:56,676 --> 00:02:01,596 Speaker 1: was more acoustic, but classical as well. Yeah. They had 28 00:02:01,636 --> 00:02:05,156 Speaker 1: some good players on that right too. But you could 29 00:02:05,596 --> 00:02:08,116 Speaker 1: I mean that's when they were kind of started fighting 30 00:02:08,156 --> 00:02:11,996 Speaker 1: among them, so right, yeah, you could kind of tell that. 31 00:02:12,796 --> 00:02:15,436 Speaker 1: It's interesting also that the Beatles were sort of not 32 00:02:15,556 --> 00:02:17,676 Speaker 1: in a great place when they made the White album 33 00:02:17,716 --> 00:02:20,516 Speaker 1: with each other, and it's one of the best. There's 34 00:02:20,556 --> 00:02:24,716 Speaker 1: something about when there's friction in the band's something good. 35 00:02:25,996 --> 00:02:28,316 Speaker 1: That's why we are so big. Let me tell you, 36 00:02:28,836 --> 00:02:31,396 Speaker 1: Oh my god, I don't think you guys as having 37 00:02:31,436 --> 00:02:34,756 Speaker 1: friction again. I don't know anything. It was three against 38 00:02:34,836 --> 00:02:38,156 Speaker 1: one the whole time. It is Jim, what is he 39 00:02:38,236 --> 00:02:43,156 Speaker 1: going to do tonight? Oh my god, it's just craziness. Yeah. Yeah. 40 00:02:43,516 --> 00:02:46,036 Speaker 1: Was he being provocative for the sake of being provocative 41 00:02:46,156 --> 00:02:49,316 Speaker 1: or he was just being himself? All of the above, Yeah, 42 00:02:49,356 --> 00:02:52,116 Speaker 1: that was part of it. He liked to, you know, 43 00:02:52,676 --> 00:02:55,796 Speaker 1: get people's goats, but you guys as well or not 44 00:02:55,876 --> 00:02:59,036 Speaker 1: sure he would he would like yeah after a while winding. 45 00:02:59,236 --> 00:03:01,596 Speaker 1: He knew that it wouldn't work after a while with us, 46 00:03:01,676 --> 00:03:05,356 Speaker 1: but it didn't stop him from trying. I remember when 47 00:03:05,396 --> 00:03:09,076 Speaker 1: I met I met his sister, she said, you know, 48 00:03:09,716 --> 00:03:13,076 Speaker 1: my brother growing up was always pressing our buttons. Did 49 00:03:13,076 --> 00:03:20,396 Speaker 1: he do that to you guys? Testing Let's see what boundary? 50 00:03:20,516 --> 00:03:23,196 Speaker 1: Where the boundaries are or whatever? What would be an 51 00:03:23,236 --> 00:03:26,556 Speaker 1: example of something that would happen that would you would 52 00:03:26,556 --> 00:03:31,876 Speaker 1: find questionable. Let's see, he didn't have a phone, he 53 00:03:31,956 --> 00:03:36,356 Speaker 1: didn't have a car, so I had a car sometimes adventure, 54 00:03:37,516 --> 00:03:41,756 Speaker 1: but remember we crash it. We got an apartment, had 55 00:03:41,796 --> 00:03:43,916 Speaker 1: a place upstairs so he could be there, so we 56 00:03:43,956 --> 00:03:47,716 Speaker 1: could mind next door because he was on a rooftop 57 00:03:47,716 --> 00:03:50,676 Speaker 1: in Venice and we just have to drive down there 58 00:03:50,676 --> 00:03:52,556 Speaker 1: to get him, you know. And he would just stay 59 00:03:52,556 --> 00:03:55,636 Speaker 1: with different girlfriends every night, so you never knew where 60 00:03:55,636 --> 00:03:59,596 Speaker 1: he was. But finally we got this place there and 61 00:03:59,636 --> 00:04:01,676 Speaker 1: there was a place for him right next door that 62 00:04:01,796 --> 00:04:06,196 Speaker 1: he wasn't around there much. What's interesting also is that 63 00:04:06,436 --> 00:04:10,876 Speaker 1: both of your bands essentially had lead poets as opposed 64 00:04:10,916 --> 00:04:17,436 Speaker 1: to lead singers, which is unusual. Yeah. Yeah, I'm trying 65 00:04:17,436 --> 00:04:21,596 Speaker 1: to recollect when I first saw love and I think 66 00:04:21,716 --> 00:04:25,916 Speaker 1: it was at Beato Lados and did we go together? Yeah? Yeah, 67 00:04:25,956 --> 00:04:30,196 Speaker 1: so what year was that, approximately sixty five sixty four? 68 00:04:30,836 --> 00:04:33,836 Speaker 1: Had they already put out records at that time or no, no, no, no, 69 00:04:34,516 --> 00:04:39,076 Speaker 1: we were rehearsing. Maybe we would just starting, maybe not 70 00:04:39,236 --> 00:04:43,116 Speaker 1: even with the doors yet. Maybe it was with Psychedelic 71 00:04:43,236 --> 00:04:46,636 Speaker 1: Rangers or something. Yeah, but we went out to this 72 00:04:46,716 --> 00:04:48,756 Speaker 1: club and it was cool because it was you didn't 73 00:04:48,756 --> 00:04:50,676 Speaker 1: have to be twenty one, because we could never get 74 00:04:50,716 --> 00:04:52,836 Speaker 1: in anywhere because we weren't twenty one. How old were 75 00:04:52,876 --> 00:04:55,196 Speaker 1: you at the time, You remember about the eighteen, eighteen, 76 00:04:55,476 --> 00:04:59,636 Speaker 1: seventeen or eighteen. So anyway, we walk in and their 77 00:04:59,716 --> 00:05:03,876 Speaker 1: playing and I had never heard a loud band before. 78 00:05:03,916 --> 00:05:06,316 Speaker 1: These were the loudest band I've ever heard. I mean 79 00:05:06,356 --> 00:05:09,916 Speaker 1: they had the big amps and shit, and before that 80 00:05:10,036 --> 00:05:13,476 Speaker 1: I'd only been to folk music, you know, Budding Travis, 81 00:05:14,036 --> 00:05:19,116 Speaker 1: Josh White Blues, you know, muddy water stuff. I had 82 00:05:19,196 --> 00:05:21,916 Speaker 1: never heard anything like this. I mean it was fucked, 83 00:05:21,996 --> 00:05:25,516 Speaker 1: you know, it was cranking and uh that just blew 84 00:05:25,556 --> 00:05:29,476 Speaker 1: me away. Yeah, yeah, exactly. Was it obvious when you 85 00:05:29,516 --> 00:05:33,116 Speaker 1: saw them what their influences were. It was a culture 86 00:05:33,156 --> 00:05:38,836 Speaker 1: shock because here's this black lead singer who he's wearing 87 00:05:39,716 --> 00:05:44,556 Speaker 1: granny glasses like Roger mcgunn from the Birds psychedelic but 88 00:05:44,716 --> 00:05:49,196 Speaker 1: at the time, you know Afros and funk, you know, 89 00:05:49,316 --> 00:05:54,276 Speaker 1: so they're they're electrified folk rock with a black lead 90 00:05:54,316 --> 00:06:01,876 Speaker 1: singer singing this way out psychedelic reincarnation. It was mind 91 00:06:01,916 --> 00:06:05,196 Speaker 1: blowing anyway, So you know, this this world we walked 92 00:06:05,196 --> 00:06:09,796 Speaker 1: into and went wow, Johnny Johnny eccles had this double 93 00:06:09,876 --> 00:06:13,116 Speaker 1: neck guitar, which I'd never seen one of those before. Yeah, 94 00:06:13,316 --> 00:06:17,276 Speaker 1: that was incredible too. Well, you know, Okay, so we're 95 00:06:17,316 --> 00:06:20,836 Speaker 1: playing the London Fog a few doors down from the Whiskey, 96 00:06:20,916 --> 00:06:25,596 Speaker 1: This Dump and Love is at Whiskey and during the 97 00:06:25,636 --> 00:06:28,796 Speaker 1: break I go down there and stand outside and just 98 00:06:28,996 --> 00:06:33,436 Speaker 1: drool over being in that band, and I'm thinking I'm 99 00:06:33,476 --> 00:06:38,636 Speaker 1: better than that drummer. I think he's a sweet guyop Snoopy, 100 00:06:39,036 --> 00:06:43,236 Speaker 1: Yeah Snoopy, you know. And actually, eventually on Forever Changes 101 00:06:43,876 --> 00:06:47,316 Speaker 1: they had studio I think just for one or two songs, 102 00:06:47,396 --> 00:06:50,956 Speaker 1: because at least there's one one version of the story 103 00:06:51,276 --> 00:06:56,076 Speaker 1: where I think how Blaine played on just two songs. Yeah, 104 00:06:56,996 --> 00:07:00,116 Speaker 1: and then the band kind of decided we better get 105 00:07:00,156 --> 00:07:04,236 Speaker 1: serious otherwise we're not going to play again. I don't 106 00:07:04,276 --> 00:07:08,636 Speaker 1: know that that's the lords don't correct, that's correct, right? Yeah? 107 00:07:08,756 --> 00:07:12,516 Speaker 1: And Carol Kay played bass on on a couple too. Wow. Yeah, 108 00:07:12,556 --> 00:07:16,396 Speaker 1: you know. Dennis Wilson, he didn't mind how playing on 109 00:07:16,516 --> 00:07:19,916 Speaker 1: the stuff. He was cool with it, of course, yeah, 110 00:07:19,956 --> 00:07:21,516 Speaker 1: you know. And I was thinking, I'm as good as 111 00:07:21,516 --> 00:07:25,476 Speaker 1: these studio guys. Why am I not in love? Yeah? 112 00:07:25,556 --> 00:07:29,316 Speaker 1: And then Arthur, you know, told the head of Electra, 113 00:07:29,476 --> 00:07:32,756 Speaker 1: Jack Holsman, to see us, which was such a gracious 114 00:07:32,796 --> 00:07:35,156 Speaker 1: thing to do. And it was it Arthur or Ronnie 115 00:07:35,196 --> 00:07:37,516 Speaker 1: because Ronnie Harron always says it was her well that 116 00:07:37,676 --> 00:07:42,276 Speaker 1: she managed him. So and then we skyrocketed past the band. 117 00:07:42,636 --> 00:07:47,756 Speaker 1: Sorry guys, but that was so they were our idols. Yeah, 118 00:07:47,796 --> 00:07:50,316 Speaker 1: it's it's it's the reason I wanted to talk to you, guys, 119 00:07:50,396 --> 00:07:53,876 Speaker 1: is because most people know your band and many people 120 00:07:53,956 --> 00:07:56,436 Speaker 1: don't know them, and I thought it would be interesting 121 00:07:56,556 --> 00:07:58,796 Speaker 1: for you to talk about it, and it just gives 122 00:07:58,876 --> 00:08:01,836 Speaker 1: it gives people an understanding of what you guys saw 123 00:08:02,676 --> 00:08:05,156 Speaker 1: and the fact that you traveled the world and spread 124 00:08:05,196 --> 00:08:07,836 Speaker 1: the message of the doors everywhere whereas Love didn't really 125 00:08:07,876 --> 00:08:11,356 Speaker 1: do that for Love. I don't understand the details, but 126 00:08:11,436 --> 00:08:13,796 Speaker 1: I understand that Arthur didn't want to really leave Los 127 00:08:13,836 --> 00:08:17,156 Speaker 1: Angeles very much. I'll give you some details. He chained 128 00:08:17,276 --> 00:08:23,156 Speaker 1: smoke dope and forever. Changes was just huge in England. 129 00:08:23,396 --> 00:08:26,516 Speaker 1: It was like Sergeant Pepper time. And he would not 130 00:08:26,636 --> 00:08:29,516 Speaker 1: get on a plane across They did go over there 131 00:08:29,556 --> 00:08:33,716 Speaker 1: or one did they think later? I think Mayle, I 132 00:08:33,756 --> 00:08:36,076 Speaker 1: think when, maybe even when the band broke, may have 133 00:08:36,156 --> 00:08:38,356 Speaker 1: broken up by that. I think you're right, he might 134 00:08:38,396 --> 00:08:40,636 Speaker 1: have been doing the hard stuff too by that time. 135 00:08:40,836 --> 00:08:44,236 Speaker 1: I was afraid to go on the airplane. Yeah, yeah, 136 00:08:44,276 --> 00:08:47,436 Speaker 1: so yeah, his reluctance didn't help at all. When did 137 00:08:47,436 --> 00:08:51,756 Speaker 1: you first meet those guys? It's probably I mean, I 138 00:08:51,796 --> 00:08:55,396 Speaker 1: think I met Brian earlier, but mainly it was at 139 00:08:55,436 --> 00:08:57,476 Speaker 1: the Whiskey when we finally got the job at the 140 00:08:57,476 --> 00:09:00,756 Speaker 1: whiskey and they, Yeah, they used to have They were 141 00:09:00,756 --> 00:09:04,196 Speaker 1: the headline and every other group you ever heard of. 142 00:09:04,676 --> 00:09:07,276 Speaker 1: So how did that work? What does the house band 143 00:09:07,316 --> 00:09:09,636 Speaker 1: mean and what does the headliner mean? So we don't 144 00:09:09,636 --> 00:09:12,996 Speaker 1: have that anymore. We were. We would start off the night, 145 00:09:13,156 --> 00:09:15,516 Speaker 1: you know, eight o'clock when the place was half full. 146 00:09:15,876 --> 00:09:20,356 Speaker 1: So you played there every night or six nights, yea. Yeah, 147 00:09:20,436 --> 00:09:23,836 Speaker 1: we had to join the union. Remember, I think it 148 00:09:23,916 --> 00:09:28,316 Speaker 1: was nine. We started at nine, played the first set, 149 00:09:28,356 --> 00:09:32,156 Speaker 1: then the headliner played, then we played again, then they closed. 150 00:09:32,276 --> 00:09:35,716 Speaker 1: So it was like being an opening you'd be the 151 00:09:35,756 --> 00:09:38,116 Speaker 1: opening act, but you'd be the opening act for everybody 152 00:09:38,156 --> 00:09:42,276 Speaker 1: all the time. Yeah. For for about a year for 153 00:09:42,436 --> 00:09:46,596 Speaker 1: it was you just name them Captain Beefheart, the Birds, 154 00:09:47,396 --> 00:09:52,396 Speaker 1: Van Morrison, Frank and the first one we did was 155 00:09:52,476 --> 00:09:57,156 Speaker 1: them Van Morrison's band when he first had Gloria, and 156 00:09:57,716 --> 00:10:00,036 Speaker 1: we got to be friends with them, and last night 157 00:10:00,036 --> 00:10:02,516 Speaker 1: we got to play Gloria with them on stage, all 158 00:10:02,516 --> 00:10:06,756 Speaker 1: of us. Yeah, we left some pictures of that, and 159 00:10:06,836 --> 00:10:09,436 Speaker 1: that's when I thought his voice was the best ever. 160 00:10:10,116 --> 00:10:15,036 Speaker 1: You know, just man, Gloria, come on, wow. And then 161 00:10:15,116 --> 00:10:17,236 Speaker 1: you know when he came over him and played at 162 00:10:17,236 --> 00:10:19,756 Speaker 1: the whiskey. We got to know him, and he was 163 00:10:19,796 --> 00:10:23,276 Speaker 1: so shy. Man, he was like worse than Jim, you know. 164 00:10:23,796 --> 00:10:27,076 Speaker 1: And then one night at a party he came and 165 00:10:27,156 --> 00:10:30,196 Speaker 1: he was doing some of his new stuff and he 166 00:10:30,276 --> 00:10:33,276 Speaker 1: did a Brown Eyed Girl, remember, just him and a guitar. 167 00:10:34,876 --> 00:10:40,396 Speaker 1: He did snippets of astral Weeks too. I was thinking, 168 00:10:40,476 --> 00:10:43,556 Speaker 1: he's so shy, he can't even talk, but then he 169 00:10:43,596 --> 00:10:47,556 Speaker 1: grabs a guitar and wow. I would imagine by playing 170 00:10:47,596 --> 00:10:51,716 Speaker 1: every night the residency probably made you guys really good, 171 00:10:52,156 --> 00:10:55,516 Speaker 1: Like when you play together, you just get better. Yeah, 172 00:10:55,516 --> 00:10:57,796 Speaker 1: I was there, and in New York we did the 173 00:10:57,876 --> 00:11:01,596 Speaker 1: same thing at a place called on Dean's Club. Yeah, 174 00:11:01,716 --> 00:11:05,636 Speaker 1: fifty nine Street Bridge every night from ninetel two. And yeah, 175 00:11:05,836 --> 00:11:09,716 Speaker 1: Andy Warhol and all those giant people came later. They 176 00:11:09,796 --> 00:11:12,836 Speaker 1: remember we started eleven and we go till five whatever, 177 00:11:13,836 --> 00:11:17,196 Speaker 1: just five sets tonight. Amazing. Yeah, you get good. The 178 00:11:17,356 --> 00:11:20,076 Speaker 1: thing about practice, it really does go. Oh that's the 179 00:11:20,156 --> 00:11:23,436 Speaker 1: thing about today groups. They're lucky to get a gig 180 00:11:23,476 --> 00:11:26,276 Speaker 1: on a weekend. Yes, you know, how can you get 181 00:11:26,316 --> 00:11:29,596 Speaker 1: good like that? And it's also different practicing in front 182 00:11:29,596 --> 00:11:32,596 Speaker 1: of people versus playing in a room. It's a whole 183 00:11:32,596 --> 00:11:36,116 Speaker 1: different thing in front of people. Sure. Yeah, Well, then 184 00:11:36,156 --> 00:11:41,236 Speaker 1: there's electronics, Jim said a long time ago. Maybe in 185 00:11:41,276 --> 00:11:44,316 Speaker 1: the future music will be dismade by one guy with 186 00:11:44,356 --> 00:11:47,196 Speaker 1: a bunch of machines. Did you say that? Yeah? Incredible, 187 00:11:47,396 --> 00:11:49,876 Speaker 1: there it is. Yeah. And then Stevie Wondered came out 188 00:11:49,876 --> 00:11:52,236 Speaker 1: with Talking Book a couple of years later, and yeah, 189 00:11:52,276 --> 00:11:54,996 Speaker 1: and he played the drums on that as well as 190 00:11:54,996 --> 00:11:58,596 Speaker 1: other shit, Oh my god, amazing. Yeah, those were the 191 00:11:58,876 --> 00:12:03,156 Speaker 1: days at that time. Will you playing your own material? 192 00:12:03,236 --> 00:12:06,916 Speaker 1: Where you playing covers? Both in the London fog, We 193 00:12:07,756 --> 00:12:12,316 Speaker 1: learned Willie and Gloria and crap to get by, and 194 00:12:12,396 --> 00:12:15,516 Speaker 1: we'd sneak in our own stuff and if the whiskey, 195 00:12:15,956 --> 00:12:18,676 Speaker 1: i'd say, remember the first set when nobody was there, 196 00:12:18,716 --> 00:12:22,116 Speaker 1: we'd just do what we call it Latin bullshit number 197 00:12:22,116 --> 00:12:26,636 Speaker 1: two and we just jam on some Latin stuff and 198 00:12:26,676 --> 00:12:30,996 Speaker 1: then as people started coming in, we'd lay on them. Unfortunately, 199 00:12:31,076 --> 00:12:34,236 Speaker 1: the times had changed and you didn't have to do 200 00:12:35,156 --> 00:12:38,076 Speaker 1: rock hits and you could do your own stuff and 201 00:12:38,076 --> 00:12:40,796 Speaker 1: then we'd smack them with the end. Did you end 202 00:12:40,836 --> 00:12:43,596 Speaker 1: with the end every day? Yeah? Pretty much, wouldn't or 203 00:12:43,676 --> 00:12:47,076 Speaker 1: light my fire would end light my fire. Everybody be dancing, 204 00:12:47,196 --> 00:12:49,716 Speaker 1: and then the encore would be the end and people 205 00:12:49,756 --> 00:12:58,596 Speaker 1: would file out quietly, no applause. Holy shit, they were bludgeoned. 206 00:12:58,996 --> 00:13:02,276 Speaker 1: So great, so great, But you know, I want to 207 00:13:02,356 --> 00:13:05,156 Speaker 1: jump for a second. I'm thinking of the parallel between 208 00:13:05,316 --> 00:13:09,076 Speaker 1: Arthur and Jim. I have this theory that a great 209 00:13:09,436 --> 00:13:13,156 Speaker 1: song it is a wedding between the way the lyrics 210 00:13:13,276 --> 00:13:17,836 Speaker 1: fit with the melody. And damn, those two guys not 211 00:13:17,996 --> 00:13:23,876 Speaker 1: only had these incredible words, they're they're stitched to gorgeous melodies. Yes, 212 00:13:24,756 --> 00:13:28,236 Speaker 1: you know Arthur and Jim. And Jim couldn't play a 213 00:13:28,316 --> 00:13:32,596 Speaker 1: chord on any instrument, but had he said he thought 214 00:13:32,596 --> 00:13:36,916 Speaker 1: of melodies to remember the words, Oh my God? And 215 00:13:37,156 --> 00:13:40,916 Speaker 1: you know roadhouse blues, that's not a difficult melody. But 216 00:13:41,836 --> 00:13:43,716 Speaker 1: now I'm going to prove why I'm the drummer and 217 00:13:43,796 --> 00:13:50,836 Speaker 1: not the singer. Before you slip into unconsciousness. That's some 218 00:13:51,036 --> 00:13:54,916 Speaker 1: hard chord changes. That's not you know, it's like Jazzy 219 00:13:55,116 --> 00:13:59,316 Speaker 1: and he had it in his head, gifted, yeah, and 220 00:13:59,516 --> 00:14:02,676 Speaker 1: and he just you know, it's not like he sat 221 00:14:02,716 --> 00:14:05,516 Speaker 1: down at the piano and picked out the notes. He 222 00:14:05,716 --> 00:14:10,836 Speaker 1: actually would do a little capoolko gold, and he said 223 00:14:10,876 --> 00:14:13,596 Speaker 1: he heard a concert in his head. Wow, all he 224 00:14:13,596 --> 00:14:16,476 Speaker 1: had to do is remember it. Wow. And would those 225 00:14:16,556 --> 00:14:19,636 Speaker 1: would those melodies always come after hearing the music, or 226 00:14:19,756 --> 00:14:21,836 Speaker 1: might he sing you a melody and then you'd figure 227 00:14:21,836 --> 00:14:25,236 Speaker 1: out what the song was? Well, in those early days, 228 00:14:25,316 --> 00:14:27,996 Speaker 1: it was, you know, he would have the melody in 229 00:14:28,076 --> 00:14:31,476 Speaker 1: his head, and before I was even in the band, 230 00:14:31,676 --> 00:14:35,676 Speaker 1: Ray would help him, you know, pick out the drive 231 00:14:36,316 --> 00:14:39,556 Speaker 1: kind of was etched out before yea, even Hello I 232 00:14:39,596 --> 00:14:41,676 Speaker 1: Love You was kind of like but when Robbie came 233 00:14:41,716 --> 00:14:45,516 Speaker 1: along with the band was formed, and then Jim would 234 00:14:45,556 --> 00:14:49,756 Speaker 1: just sing a cappella and we'd wait, wait, hold it 235 00:14:50,436 --> 00:14:53,756 Speaker 1: f sharp, okay, go on. And even in the songs 236 00:14:53,756 --> 00:14:58,036 Speaker 1: that I wrote, he would often change that melody. He couldn't, 237 00:14:58,156 --> 00:15:00,116 Speaker 1: you know. I would say, okay, sing it like this, 238 00:15:00,196 --> 00:15:01,836 Speaker 1: you know, and he couldn't do it. You know, he 239 00:15:01,916 --> 00:15:04,276 Speaker 1: wasn't a musician, so he would do something a little 240 00:15:04,276 --> 00:15:06,836 Speaker 1: different and it was usually better than what I had 241 00:15:06,836 --> 00:15:10,116 Speaker 1: thought of. He just naturally had a s and yeah, yeah, 242 00:15:10,556 --> 00:15:13,436 Speaker 1: like on light my Fire, you know, my my first 243 00:15:13,516 --> 00:15:17,476 Speaker 1: melody was more like, uh, you know that it will be, 244 00:15:20,876 --> 00:15:23,796 Speaker 1: but he, you know, he simplified it a little bit 245 00:15:23,836 --> 00:15:27,196 Speaker 1: and it actually was better. Amazing, And you know, in 246 00:15:27,276 --> 00:15:30,156 Speaker 1: the very beginning he didn't have that deep baritone. He 247 00:15:30,196 --> 00:15:35,436 Speaker 1: was so shy, wouldn't face the audience. But eventually, Wow, 248 00:15:36,196 --> 00:15:40,636 Speaker 1: And you think about other singers who blew their chords 249 00:15:40,676 --> 00:15:44,036 Speaker 1: and had to have operations and stuff. And Jim could 250 00:15:44,596 --> 00:15:49,516 Speaker 1: scream from the bowels like he was ripping his throat out. Yeah, 251 00:15:49,556 --> 00:15:51,756 Speaker 1: but he never had. He did it for five years. 252 00:15:52,316 --> 00:15:57,316 Speaker 1: If he had continued, I'm sure he never did while 253 00:15:57,356 --> 00:16:00,836 Speaker 1: we were with him. Never, never, He never lost his choice. 254 00:16:01,716 --> 00:16:04,796 Speaker 1: I've had so many singers that I've played with over 255 00:16:04,836 --> 00:16:07,916 Speaker 1: the years who you know, couldn't make it through a 256 00:16:07,996 --> 00:16:12,356 Speaker 1: whole show. Yeah, especially Doors songs, the keys they're in, 257 00:16:12,716 --> 00:16:16,956 Speaker 1: they're meant for Jim's his octave range was incredible. It's 258 00:16:16,996 --> 00:16:21,036 Speaker 1: an interesting thing about there are certain bands, like the Beatles. 259 00:16:21,836 --> 00:16:24,756 Speaker 1: A lot of people cover Beatles songs. Not a lot 260 00:16:24,756 --> 00:16:27,396 Speaker 1: of people covered Doors songs so much. But I think 261 00:16:27,396 --> 00:16:30,956 Speaker 1: it has to do with the nature of the band 262 00:16:31,236 --> 00:16:35,196 Speaker 1: is so unique that the sound of it is as 263 00:16:35,236 --> 00:16:39,076 Speaker 1: important as the song. It's like the whole thing is 264 00:16:39,156 --> 00:16:43,076 Speaker 1: one and if you take you guys out of it, 265 00:16:43,756 --> 00:16:47,476 Speaker 1: the song doesn't have the same life. Yeah, if you 266 00:16:47,556 --> 00:16:53,076 Speaker 1: go see these doors cover bands I've never done, that's interest. Well, 267 00:16:53,116 --> 00:16:58,116 Speaker 1: it's it's it's intimidating filling Jim's leather pants. No, I mean, 268 00:16:58,636 --> 00:17:03,036 Speaker 1: I mean, okay, so I did La Woman with the 269 00:17:03,156 --> 00:17:07,916 Speaker 1: La Philharmonic and Chris Martin from cole Play. Yes, and 270 00:17:07,996 --> 00:17:10,996 Speaker 1: he was He said to me, oh, man, how can 271 00:17:11,036 --> 00:17:15,556 Speaker 1: I feel Jim's vocal cords? And I don't, don't try 272 00:17:16,716 --> 00:17:20,476 Speaker 1: or whatever. Yeah, isn't that amazing that he you know, 273 00:17:20,476 --> 00:17:25,556 Speaker 1: no vocal coaching, nothing, it never sung before us, never 274 00:17:25,596 --> 00:17:28,196 Speaker 1: wrote a song before us. Yeah, I mean he had 275 00:17:28,236 --> 00:17:36,836 Speaker 1: the most incredible vocal range and he was always on pitch. Yeah, 276 00:17:37,076 --> 00:17:40,556 Speaker 1: never had to wait, never sharp or flat. Do you 277 00:17:40,596 --> 00:17:43,076 Speaker 1: know what singers he liked? Like? Who would you say? 278 00:17:43,116 --> 00:17:47,276 Speaker 1: He was inspired? Man? Like Delve Like Sinatra? That makes 279 00:17:47,276 --> 00:17:50,356 Speaker 1: sense though, Like he sings more like Sinatra than most 280 00:17:50,476 --> 00:17:53,876 Speaker 1: rock singers. You know, he really sang in that the 281 00:17:53,996 --> 00:17:58,636 Speaker 1: crooner Yeah, the crooner style. Yeah. And you know like 282 00:17:58,716 --> 00:18:01,676 Speaker 1: Willie Nelson has it too. Yeah, there's a sense of 283 00:18:01,796 --> 00:18:06,436 Speaker 1: phrasing where you sense the singer is so relaxed and 284 00:18:06,476 --> 00:18:10,796 Speaker 1: it's effortless, and it is Willie's obsessed with Frank as well. Sure, 285 00:18:11,276 --> 00:18:16,236 Speaker 1: and it's so identifiable. You hear two bars of Willie 286 00:18:16,396 --> 00:18:20,076 Speaker 1: or Merle or Jim and you go, that's them. It's 287 00:18:20,116 --> 00:18:25,516 Speaker 1: nobody else. Now, what was Arthur's influences? Yeah, that's a 288 00:18:25,556 --> 00:18:29,916 Speaker 1: good any ideas, I don't know. Well, he must have 289 00:18:29,956 --> 00:18:33,916 Speaker 1: liked the birds because of the glasses things. Arthur was 290 00:18:33,956 --> 00:18:39,036 Speaker 1: still here, Yeah, and Brian and Jim. Do you know 291 00:18:39,076 --> 00:18:42,716 Speaker 1: anything about what their relationship was like? Uh? It was 292 00:18:43,556 --> 00:18:46,876 Speaker 1: got more strange, yes, as time went on. I think, yeah, 293 00:18:47,636 --> 00:18:52,036 Speaker 1: a songwriter competition kind of thing. Brian had the big hit, 294 00:18:52,636 --> 00:18:56,996 Speaker 1: but Arthur had all this gorgeous deep stuff, and I 295 00:18:57,036 --> 00:19:02,036 Speaker 1: think there was some jealousy. They were sure unique group. 296 00:19:02,556 --> 00:19:04,516 Speaker 1: How the hell did they get together? I wonder how 297 00:19:04,516 --> 00:19:09,676 Speaker 1: God knows? And they call themselves love incredible. Isn't that beautiful? 298 00:19:10,396 --> 00:19:14,556 Speaker 1: Really a collectic group of people, you know, And it 299 00:19:14,596 --> 00:19:18,316 Speaker 1: wasn't a stereotype then you know, the peace sign and 300 00:19:18,556 --> 00:19:21,556 Speaker 1: love and it was before it was the real deal. 301 00:19:22,996 --> 00:19:25,276 Speaker 1: You know, it was so ahead of the curve. The 302 00:19:25,316 --> 00:19:28,716 Speaker 1: people are still catching up. Yeah, you know, like we 303 00:19:28,716 --> 00:19:31,516 Speaker 1: were on the shoulders of the beat Nicks and then 304 00:19:31,596 --> 00:19:35,036 Speaker 1: the punks are on the shoulders of the hippies and 305 00:19:35,116 --> 00:19:38,396 Speaker 1: the Grunges on the shoulders of the punks. So I 306 00:19:38,396 --> 00:19:40,316 Speaker 1: mean you could say love was a little bit punk, 307 00:19:40,756 --> 00:19:43,516 Speaker 1: a little you know, you'd also makes sense when you 308 00:19:43,556 --> 00:19:45,596 Speaker 1: say that you were on the shoulders of the beat 309 00:19:45,636 --> 00:19:49,716 Speaker 1: Nicks and that both bands had poets. Yeah, that makes sense, 310 00:19:50,276 --> 00:19:52,556 Speaker 1: like if we keep in mind that the Beatnick era 311 00:19:52,756 --> 00:19:55,116 Speaker 1: was just sort of what was what had just been 312 00:19:55,156 --> 00:19:58,756 Speaker 1: going on in the culture. Yeah, so you know, you 313 00:19:58,876 --> 00:20:03,196 Speaker 1: sense a new wave and and I think Jim said 314 00:20:03,316 --> 00:20:06,156 Speaker 1: each generation wants to be different from the one before. 315 00:20:07,036 --> 00:20:10,476 Speaker 1: And so the punks came along and dissed us for 316 00:20:10,636 --> 00:20:14,916 Speaker 1: burning out, and they were right, but the message was there, 317 00:20:15,156 --> 00:20:19,276 Speaker 1: the love thing, you know, so I get pissed off 318 00:20:19,316 --> 00:20:23,316 Speaker 1: one night. You know, people dissed the sixties is failing hold. 319 00:20:24,436 --> 00:20:29,356 Speaker 1: Civil rights, peace movement, feminism are all seeds planted in 320 00:20:29,396 --> 00:20:34,396 Speaker 1: the sixties. They're big seeds, so maybe they take hundreds 321 00:20:34,436 --> 00:20:37,436 Speaker 1: of years for full fruition. So shut up and get 322 00:20:37,476 --> 00:20:41,996 Speaker 1: out your watering can. And also the soap box. Clearly 323 00:20:42,236 --> 00:20:44,716 Speaker 1: the world is a different place than it was before 324 00:20:44,716 --> 00:20:48,756 Speaker 1: the sixties, Like, yeah, that was the turning point. You 325 00:20:48,796 --> 00:20:50,796 Speaker 1: can you can say what you want about the sixties, 326 00:20:50,796 --> 00:20:55,676 Speaker 1: not accomplishing all that it meant to do. Yet the 327 00:20:55,796 --> 00:20:59,636 Speaker 1: world was transformed in the sixties. There's no question we 328 00:20:59,676 --> 00:21:02,636 Speaker 1: live in a different culture that was all the seeds 329 00:21:02,636 --> 00:21:07,436 Speaker 1: of the sixties, right, like a renaissance time like the 330 00:21:07,516 --> 00:21:10,276 Speaker 1: twenties or what I would saying, as you'd think we 331 00:21:10,316 --> 00:21:16,516 Speaker 1: would have learned. We need another sixties right now, So yeah, 332 00:21:16,516 --> 00:21:20,836 Speaker 1: it may happen. Yeah, because music is the only thing 333 00:21:20,876 --> 00:21:25,356 Speaker 1: that we all agree on. Yeah, I love so let's 334 00:21:25,436 --> 00:21:31,916 Speaker 1: use it to try to patch this mess up. Huh. 335 00:21:32,876 --> 00:21:34,996 Speaker 1: Going to pause for a quick break, but we'll be 336 00:21:35,036 --> 00:21:42,516 Speaker 1: back with the doors. Robbie Krieger and John Densmore. We're 337 00:21:42,516 --> 00:21:46,596 Speaker 1: back with Rick Rubens. Conversation with Robbie Krieger and John Densmore. 338 00:21:46,916 --> 00:21:49,156 Speaker 1: What was the first gig that you did where you 339 00:21:49,196 --> 00:21:52,596 Speaker 1: were in the band? Your first gig, first gig was 340 00:21:52,636 --> 00:22:02,076 Speaker 1: that Hughes Aircraft. It was don't remember Ray's mom worked 341 00:22:02,396 --> 00:22:05,716 Speaker 1: at Hughes Aircraft or his dad. So they needed a 342 00:22:05,716 --> 00:22:10,076 Speaker 1: band for some Okay, you know, so well together and 343 00:22:10,756 --> 00:22:13,396 Speaker 1: we we I can't remember the bass player, but he 344 00:22:13,476 --> 00:22:17,796 Speaker 1: only had one string on his back. And then Ray 345 00:22:17,956 --> 00:22:21,356 Speaker 1: was on acid and totally freaked out. He was on 346 00:22:21,396 --> 00:22:24,116 Speaker 1: a bummer acid trip. I don't know how he even played. 347 00:22:25,156 --> 00:22:27,596 Speaker 1: I don't remember the gig. You don't remember, no, you 348 00:22:27,716 --> 00:22:32,796 Speaker 1: black remember? I remember the big warehouse. Yeah, yeah, well 349 00:22:32,876 --> 00:22:37,316 Speaker 1: the gig was was pretty weird. We played some mingus 350 00:22:37,356 --> 00:22:42,316 Speaker 1: I think, uh, and Jim tried to sing a couple 351 00:22:42,316 --> 00:22:45,316 Speaker 1: of things he didn't. We didn't really have any songs 352 00:22:45,436 --> 00:22:48,476 Speaker 1: worked up, you know, so Jim and I both took speed. 353 00:22:48,556 --> 00:22:54,236 Speaker 1: I remember that, Oh my god, drug addict. Really the 354 00:22:54,316 --> 00:22:57,516 Speaker 1: London fog was the first. No, no, no, remember the 355 00:22:58,036 --> 00:23:00,996 Speaker 1: party were played at my parents, so there was party, 356 00:23:01,356 --> 00:23:05,956 Speaker 1: but still that counts. Yeah, it's fun of people party 357 00:23:05,956 --> 00:23:12,516 Speaker 1: at the Isaacson's house near UCLA, and we actually played 358 00:23:12,556 --> 00:23:16,636 Speaker 1: a set and that was pretty good. Were you on 359 00:23:16,756 --> 00:23:21,116 Speaker 1: that gig that gay house boat party out of Marina 360 00:23:21,236 --> 00:23:23,956 Speaker 1: or someone pedrew? I think? And I know on the 361 00:23:23,996 --> 00:23:28,116 Speaker 1: invitation it said, uh, please remember the band is not 362 00:23:28,276 --> 00:23:32,116 Speaker 1: part of our group. Don't come onto the band and 363 00:23:32,236 --> 00:23:36,836 Speaker 1: we're playing and uh, I remember we got the nerve 364 00:23:36,916 --> 00:23:40,356 Speaker 1: to play a ballad and then everybody started kind of 365 00:23:40,596 --> 00:23:43,876 Speaker 1: getting close and there was a lot of shuffling down 366 00:23:43,876 --> 00:23:47,116 Speaker 1: below in the boat, and I remember Ray daring me 367 00:23:47,196 --> 00:23:53,116 Speaker 1: to go downstairs. Early Doris gigs. Yeah, and then we 368 00:23:53,276 --> 00:23:57,636 Speaker 1: played a gig for Moonfire. Remember what's Moonfire a gig? Yeah, 369 00:23:57,716 --> 00:24:00,316 Speaker 1: we played a gig. He had a party down right 370 00:24:00,436 --> 00:24:04,276 Speaker 1: near where you live, and the uplifters. Well, no, he 371 00:24:04,356 --> 00:24:06,316 Speaker 1: was up to pag I know he was. But he 372 00:24:06,396 --> 00:24:12,156 Speaker 1: rented this place right near your house. Moon Fire. Was 373 00:24:12,196 --> 00:24:15,956 Speaker 1: this heir to something. Yeah, he had a lot of 374 00:24:15,956 --> 00:24:18,796 Speaker 1: money and he had a huge place up into Panga 375 00:24:18,956 --> 00:24:21,836 Speaker 1: and he let all the hippies stay there and hang 376 00:24:21,876 --> 00:24:25,436 Speaker 1: out and stuff. And he was a militant vegetarian. And 377 00:24:25,556 --> 00:24:29,876 Speaker 1: when we played Miami over right, he brought a lamb 378 00:24:29,956 --> 00:24:33,996 Speaker 1: on stage, a little little cute little lamb lam and 379 00:24:34,196 --> 00:24:37,116 Speaker 1: gave it to Jim. Gave it and Jim Jim said, 380 00:24:38,716 --> 00:24:42,996 Speaker 1: he said, if it weren't so young, I fuck it. Oh. 381 00:24:43,036 --> 00:24:45,116 Speaker 1: I was gonna say, don't say that, Robbie, but go 382 00:24:45,396 --> 00:24:47,876 Speaker 1: he did, okay? Or did he really say that or 383 00:24:47,956 --> 00:24:50,516 Speaker 1: was that just in the movie a joke? Yeah, it 384 00:24:50,556 --> 00:24:52,436 Speaker 1: was a joke. It's not in the movie. He would 385 00:24:52,436 --> 00:24:53,996 Speaker 1: say that. I think it is in the movie. I 386 00:24:54,116 --> 00:24:57,556 Speaker 1: believe me he would really. Wasn't it in the movie. 387 00:24:57,716 --> 00:24:59,796 Speaker 1: I don't think so. I've seen the movie and I 388 00:24:59,796 --> 00:25:04,156 Speaker 1: don't remember that line. Well, it's a real quick line, 389 00:25:04,156 --> 00:25:07,116 Speaker 1: and yeah, if you go check it out again, you 390 00:25:07,356 --> 00:25:11,116 Speaker 1: hear it. A lot of it's entric folk around. What 391 00:25:11,156 --> 00:25:13,956 Speaker 1: was the idea of bringing the lamb on stage? Was 392 00:25:13,996 --> 00:25:17,476 Speaker 1: so cute? Don't eat meat? Yeah? Yeah, he was a vegetarian. 393 00:25:18,716 --> 00:25:23,116 Speaker 1: Wait before vegetarian? Is it's cool? Yeah? It was kind 394 00:25:23,156 --> 00:25:26,876 Speaker 1: of a cool guy. Anyway, We played a party for him, 395 00:25:26,916 --> 00:25:28,996 Speaker 1: and that was pretty early. That was one of our 396 00:25:28,996 --> 00:25:32,796 Speaker 1: first gigs. I remember having to drag my big standale 397 00:25:32,916 --> 00:25:37,636 Speaker 1: amp up there. Yeah, we had a VW bus, we 398 00:25:38,236 --> 00:25:41,516 Speaker 1: slept all the stuff, so we would just get gigs 399 00:25:41,516 --> 00:25:43,156 Speaker 1: however we could get them, you know. I mean we 400 00:25:43,236 --> 00:25:46,436 Speaker 1: used to go to all the clubs and beg them 401 00:25:46,556 --> 00:25:50,956 Speaker 1: to let us play there. I remember, you know, Ray 402 00:25:51,116 --> 00:25:55,076 Speaker 1: was with Dorothy and in the beach House and Jim 403 00:25:55,116 --> 00:25:58,116 Speaker 1: and I maybe you tagged along. We'd go to these 404 00:25:58,196 --> 00:26:02,156 Speaker 1: bars on Hollywood Boulevard that would never have a band anyway, 405 00:26:02,196 --> 00:26:05,356 Speaker 1: and we'd go in there. Can we play? Would you? 406 00:26:05,516 --> 00:26:09,396 Speaker 1: Could we? But we wanted to do something, even though 407 00:26:10,316 --> 00:26:14,756 Speaker 1: it seemed fruitless, and it was a twenty four hour, 408 00:26:15,396 --> 00:26:17,796 Speaker 1: seven day a week campaign. You know how it is 409 00:26:17,796 --> 00:26:20,996 Speaker 1: to launch anything creative. Yes, whether it's a book or 410 00:26:21,036 --> 00:26:26,516 Speaker 1: a movie or what, it's a herculean to sell the damna. Absolutely, absolutely, 411 00:26:26,516 --> 00:26:29,156 Speaker 1: it's very hard to break through. We didn't even have 412 00:26:29,196 --> 00:26:35,636 Speaker 1: a manager, I think, until my fire. Yeah, amazing, and 413 00:26:35,716 --> 00:26:40,356 Speaker 1: it's been downhill ever since. It's also funny that in 414 00:26:40,436 --> 00:26:43,596 Speaker 1: today's world we don't think of a band of the 415 00:26:43,676 --> 00:26:46,116 Speaker 1: stature of the Doors playing at house party. It's just 416 00:26:46,156 --> 00:26:51,636 Speaker 1: fascinating to imagine that world because now when young artists start, 417 00:26:52,316 --> 00:26:58,436 Speaker 1: the mechanisms are in place for finding an audience and 418 00:26:58,476 --> 00:27:02,916 Speaker 1: then finding gigs. There's like an industry around it now, 419 00:27:03,356 --> 00:27:06,876 Speaker 1: whereas then it really was a clean slate. And I 420 00:27:06,916 --> 00:27:09,636 Speaker 1: remember seeing old film of you guys playing where the 421 00:27:09,636 --> 00:27:11,956 Speaker 1: sounds it seemed like the sound system wouldn't even fill 422 00:27:11,996 --> 00:27:15,916 Speaker 1: the places you were, you know, tiny little samp for 423 00:27:15,996 --> 00:27:20,796 Speaker 1: a vocal mic, you know. Yeah, it's always always hard 424 00:27:20,836 --> 00:27:23,116 Speaker 1: to hear the vocals. Poor Jim, you know, he never 425 00:27:23,156 --> 00:27:26,996 Speaker 1: had monitors testament to what a good singer he was. 426 00:27:27,036 --> 00:27:29,396 Speaker 1: If he could sing like that without hearing himself, I 427 00:27:29,436 --> 00:27:31,956 Speaker 1: guess they had him at the whiskey. But yeah, I 428 00:27:32,036 --> 00:27:36,516 Speaker 1: mean I think that was good for building his Yeah, 429 00:27:36,556 --> 00:27:39,276 Speaker 1: he'd have to something the Beatles talk about was that 430 00:27:39,316 --> 00:27:42,916 Speaker 1: they would sing their harmonies, going from gig to gig 431 00:27:43,116 --> 00:27:46,796 Speaker 1: in the van and practice singing, and they were so 432 00:27:46,876 --> 00:27:48,716 Speaker 1: good at it that they didn't have to hear each other. 433 00:27:48,716 --> 00:27:50,876 Speaker 1: They'd be able to sing in a harmony because they 434 00:27:50,916 --> 00:27:54,916 Speaker 1: could never hear each other when they were performing, no kidding. Yeah, wow, 435 00:27:55,476 --> 00:28:01,596 Speaker 1: And now we have any ear monitors. Different world, you know, 436 00:28:01,756 --> 00:28:05,636 Speaker 1: I I changed my answer to the question. For years, 437 00:28:05,716 --> 00:28:08,476 Speaker 1: people would say, well, if Jim was around now, would 438 00:28:08,516 --> 00:28:11,516 Speaker 1: he be clean and sober? And I go, nah, kama 439 00:28:11,596 --> 00:28:15,476 Speaker 1: kazi drunk. And now the last few years I've thought 440 00:28:15,516 --> 00:28:18,916 Speaker 1: about Clapton and M and M and and it's a 441 00:28:18,956 --> 00:28:22,916 Speaker 1: different time. Yeah. Sure, why if he was alive, he'd 442 00:28:22,916 --> 00:28:25,956 Speaker 1: have to be sober. Yeah yeah, otherwise he wouldn't be alive. 443 00:28:27,316 --> 00:28:35,436 Speaker 1: But so Yeah, I like saying that because it's different. Yeah. Well, 444 00:28:35,516 --> 00:28:41,876 Speaker 1: unfortunately we don't get to have him around anymore. Would 445 00:28:41,916 --> 00:28:48,276 Speaker 1: be great. Absolutely, we didn't know him and we miss them. Yeah. 446 00:28:48,356 --> 00:28:50,636 Speaker 1: I mean, you know, you see the Stone still playing 447 00:28:50,636 --> 00:28:52,916 Speaker 1: and stuff. I get really jealous when I see that. 448 00:28:53,716 --> 00:28:58,316 Speaker 1: You know, how quickly did it change from being the 449 00:28:58,356 --> 00:29:03,076 Speaker 1: house band to things getting big? For you guys? It 450 00:29:03,276 --> 00:29:05,836 Speaker 1: was pretty quick. I mean it was you know, when 451 00:29:05,916 --> 00:29:07,956 Speaker 1: light My Fire came into that was that was the 452 00:29:07,996 --> 00:29:12,196 Speaker 1: whole game change. Because before that we put out break 453 00:29:12,236 --> 00:29:16,116 Speaker 1: on Through as the first single and it didn't do 454 00:29:16,276 --> 00:29:20,716 Speaker 1: very much. We called up a lot, this is Fred Schwartz, 455 00:29:20,756 --> 00:29:24,276 Speaker 1: would you please play that break on and then they 456 00:29:24,276 --> 00:29:28,636 Speaker 1: got on to us. All of our friends would be 457 00:29:28,636 --> 00:29:31,156 Speaker 1: calling there, because that's how you got on the radio before. 458 00:29:31,276 --> 00:29:34,676 Speaker 1: You know, you have to have an audience calling in. 459 00:29:34,916 --> 00:29:39,116 Speaker 1: It's interesting how that song is so admired now. Yes, 460 00:29:39,236 --> 00:29:41,676 Speaker 1: and then it was a struggle to get it out 461 00:29:41,716 --> 00:29:46,556 Speaker 1: there because it was just so different. You know, I 462 00:29:46,556 --> 00:29:51,036 Speaker 1: don't know what starts off with the Bossonova drums, so 463 00:29:51,756 --> 00:29:55,876 Speaker 1: I mean, nobody's ever done that since Steven. I think 464 00:29:55,916 --> 00:29:58,556 Speaker 1: Forever Changes might have a Bosonova on it. I think 465 00:29:58,636 --> 00:30:02,156 Speaker 1: so yeah, yeah, yeah, but you know the way he 466 00:30:02,276 --> 00:30:08,156 Speaker 1: played Bossonova, no rock drummers even today can do that. Also, 467 00:30:08,196 --> 00:30:11,876 Speaker 1: I think that the fact that you had a classically 468 00:30:11,916 --> 00:30:15,636 Speaker 1: trained pianist in the group really separated you from everyone else. 469 00:30:16,396 --> 00:30:20,076 Speaker 1: It's true, it's a very one of a kind sound. 470 00:30:20,436 --> 00:30:23,956 Speaker 1: I think the same holds true for maybe the Zombies. 471 00:30:24,756 --> 00:30:26,356 Speaker 1: You know, I don't want not that I relate the 472 00:30:26,436 --> 00:30:28,636 Speaker 1: zombies in the doors, but both of you don't sound 473 00:30:28,636 --> 00:30:32,596 Speaker 1: like anyone else, mainly because of the keyboards. I'm such 474 00:30:32,596 --> 00:30:35,596 Speaker 1: a featured instrument because like the Rolling Stones usually had 475 00:30:35,596 --> 00:30:38,316 Speaker 1: someone playing piano in the group more often than not, 476 00:30:38,476 --> 00:30:42,356 Speaker 1: but it wasn't as much of a focus. It was 477 00:30:42,396 --> 00:30:46,596 Speaker 1: more of a support instrument. Yes, they had that as well. 478 00:30:47,476 --> 00:30:53,956 Speaker 1: And then the raised genius of these licks d D WHOA, 479 00:30:54,556 --> 00:30:57,476 Speaker 1: that's itched on all our brains. Yeah, and it sounds 480 00:30:57,476 --> 00:30:59,076 Speaker 1: like what are you just saying? That sounds like bach? 481 00:31:00,236 --> 00:31:04,116 Speaker 1: It is? It isn't. Yeah, I had the chords, these 482 00:31:04,276 --> 00:31:08,676 Speaker 1: these kind of weird chords, and he just naturally just 483 00:31:08,716 --> 00:31:13,356 Speaker 1: came up with the with the box to go over it. Yeah, yeah, 484 00:31:13,356 --> 00:31:17,476 Speaker 1: it is. That was pretty pretty amazing really, And you know, 485 00:31:18,276 --> 00:31:21,476 Speaker 1: Riders in the Storm do you listen to that solo? 486 00:31:22,236 --> 00:31:25,876 Speaker 1: It's genius. You know. I've had so many keyboard players 487 00:31:25,916 --> 00:31:29,516 Speaker 1: that play with me to play Ray stuff, and a 488 00:31:29,556 --> 00:31:34,036 Speaker 1: lot of them know it like my fire and writers 489 00:31:34,396 --> 00:31:38,316 Speaker 1: note for note, and but it still never quite sounds 490 00:31:38,396 --> 00:31:42,676 Speaker 1: like Ray. You know. It's the feel. Yeah, But the 491 00:31:42,716 --> 00:31:46,276 Speaker 1: funny thing is Ray never played those solos alike the 492 00:31:46,316 --> 00:31:48,876 Speaker 1: same every night. It was just an improve there was 493 00:31:48,876 --> 00:31:52,876 Speaker 1: an improvisation, Yeah, it was you know when we recorded 494 00:31:52,916 --> 00:31:55,836 Speaker 1: that stuff, it was one take and that's just how 495 00:31:55,956 --> 00:31:59,636 Speaker 1: it was that night. So in addition to the solos 496 00:31:59,676 --> 00:32:03,516 Speaker 1: being different, how free were the arrangements like might a 497 00:32:03,516 --> 00:32:07,316 Speaker 1: song go longer live or dependent on the song? The 498 00:32:07,756 --> 00:32:12,316 Speaker 1: epics and when the music's over. They had big sections 499 00:32:12,316 --> 00:32:14,916 Speaker 1: where we'd vamp and they would be different every night, 500 00:32:14,996 --> 00:32:17,356 Speaker 1: and the length would go fuck around with any poem 501 00:32:17,396 --> 00:32:20,236 Speaker 1: he wanted to, you know, see we'd chase him around. 502 00:32:20,276 --> 00:32:22,396 Speaker 1: I mean those kind of songs that they would grow 503 00:32:22,756 --> 00:32:25,996 Speaker 1: every night, you know, because it started off real short, 504 00:32:26,036 --> 00:32:28,196 Speaker 1: like the end was just a two minute love song 505 00:32:28,596 --> 00:32:32,236 Speaker 1: when it started, and then as time went on it 506 00:32:32,396 --> 00:32:35,756 Speaker 1: got longer and longer. And but you know, Robbie and 507 00:32:35,796 --> 00:32:40,356 Speaker 1: I went to Robbie Shankar's Kanara School of Indian Music 508 00:32:40,436 --> 00:32:44,356 Speaker 1: and got heavily influenced by that. So the end got 509 00:32:44,396 --> 00:32:47,916 Speaker 1: this droning. This was even that back then you did this, 510 00:32:48,356 --> 00:32:54,756 Speaker 1: yeah amazing. Yeah, So that's where that raga had influence came. 511 00:32:54,876 --> 00:32:58,916 Speaker 1: I actually had a sitar that a traditional city and 512 00:32:58,996 --> 00:33:01,756 Speaker 1: John had the tambo drums. Wow, And we actually went 513 00:33:01,796 --> 00:33:07,276 Speaker 1: to the school that Canara School that Robbie Shankar started. Yeah. Actually, 514 00:33:07,356 --> 00:33:10,316 Speaker 1: Robbie came and gave a lecture to us one time, amazing, 515 00:33:10,596 --> 00:33:15,316 Speaker 1: and we're in our twenties and he says, you should 516 00:33:15,556 --> 00:33:22,036 Speaker 1: channel your sexual energy into playing your instrument. What. Yeah, 517 00:33:22,116 --> 00:33:25,196 Speaker 1: And later I found out that he really didn't keep 518 00:33:25,276 --> 00:33:28,516 Speaker 1: to that well very well, and so there was enough 519 00:33:28,916 --> 00:33:30,996 Speaker 1: left over after putting it in the music we can 520 00:33:31,076 --> 00:33:34,956 Speaker 1: still use. I'll RockA too. He was the ladies. Well 521 00:33:35,076 --> 00:33:40,036 Speaker 1: he liked the whiskey too. Oh yeah, yeah, amazing. So 522 00:33:40,076 --> 00:33:43,116 Speaker 1: you're saying he was a human being yea, yeah, yeah, 523 00:33:43,636 --> 00:33:49,116 Speaker 1: kind of like MYHRESHI right, he liked Some of your 524 00:33:49,516 --> 00:33:53,196 Speaker 1: band members met each other at TM is that? Yeah, 525 00:33:53,276 --> 00:33:56,156 Speaker 1: that's true. That's where we met. Tell me the story. 526 00:33:57,596 --> 00:34:00,756 Speaker 1: Robbie and I are fooling around with legal psychedelics and 527 00:34:01,076 --> 00:34:05,156 Speaker 1: and then Robbie says, there's this Indian sage coming to town. 528 00:34:05,196 --> 00:34:09,476 Speaker 1: And I'm thinking, yeah, well, meditation might be a little 529 00:34:09,556 --> 00:34:13,316 Speaker 1: less shattering on the nervous system. And this is before 530 00:34:13,316 --> 00:34:15,676 Speaker 1: the Beatles a year or two, I don't know got 531 00:34:15,676 --> 00:34:18,516 Speaker 1: onto Mahureshi. Yeah, because we were doing it pretty much 532 00:34:18,516 --> 00:34:23,796 Speaker 1: every weekend, and uh, and we were doing I was turning, yes, 533 00:34:23,956 --> 00:34:26,076 Speaker 1: I was turning all my friends onto it. And so 534 00:34:26,276 --> 00:34:30,476 Speaker 1: in this one guy had a bad reaction many you know, yeah, 535 00:34:30,476 --> 00:34:33,876 Speaker 1: well did you douse him or yeah? I think I 536 00:34:33,916 --> 00:34:36,556 Speaker 1: gave him a little speed with it or something extra 537 00:34:36,636 --> 00:34:40,076 Speaker 1: to boost it. But anyway, he had a bad reaction, 538 00:34:40,236 --> 00:34:44,756 Speaker 1: and I felt horrible, you know, and so I said, shit, 539 00:34:44,836 --> 00:34:47,076 Speaker 1: there's got to be a better way to do this, 540 00:34:47,196 --> 00:34:50,316 Speaker 1: you know. So my buddy, who had been to India 541 00:34:50,596 --> 00:34:56,836 Speaker 1: met Mahishi and talked him into coming back here, Peter Wallace, 542 00:34:57,476 --> 00:35:01,956 Speaker 1: and so his brother and I were buddies, Keith. So 543 00:35:02,116 --> 00:35:07,596 Speaker 1: the first Mahishi meeting was at his house, and that's 544 00:35:07,636 --> 00:35:11,396 Speaker 1: where Ray and John Ray happened to be there, all right, 545 00:35:12,156 --> 00:35:15,796 Speaker 1: and John, John and I knew each other already. But 546 00:35:15,956 --> 00:35:17,516 Speaker 1: so Ray came up to me and said, I hear 547 00:35:17,516 --> 00:35:18,996 Speaker 1: you're a drummer. You want to be in a band, 548 00:35:19,316 --> 00:35:22,676 Speaker 1: and I will I'm a professional. I don't know, I'll 549 00:35:22,676 --> 00:35:28,076 Speaker 1: come down and jam and uh. Then, as I said later, 550 00:35:28,516 --> 00:35:33,636 Speaker 1: Ray's brothers dropped out, Robbie came in. Was Jim already 551 00:35:33,676 --> 00:35:36,556 Speaker 1: in the band? All yeah? I mean, you know, he 552 00:35:36,636 --> 00:35:38,916 Speaker 1: stood in the corner with his back to us, so 553 00:35:38,956 --> 00:35:41,996 Speaker 1: shy he couldn't. It was like, and we say, already 554 00:35:42,036 --> 00:35:45,636 Speaker 1: in the band it means you know. Was actually it 555 00:35:45,716 --> 00:35:48,396 Speaker 1: was Rick and the Ravens was the band, and this 556 00:35:48,596 --> 00:35:52,476 Speaker 1: Ray's Brothers band at that point. And Jim used to 557 00:35:52,516 --> 00:35:55,196 Speaker 1: sing Louie Louie once in a while, right, And then 558 00:35:55,236 --> 00:35:58,396 Speaker 1: they started and then Jim came up with these couple 559 00:35:58,396 --> 00:36:01,956 Speaker 1: of songs it's the words, and said he wants to 560 00:36:01,956 --> 00:36:05,356 Speaker 1: call at the doors. And then that's when John I 561 00:36:05,396 --> 00:36:08,956 Speaker 1: met and I met Ray, so I thought, Okay, he's 562 00:36:09,156 --> 00:36:11,796 Speaker 1: not the next Mick Jagger. But these words, man, I 563 00:36:11,836 --> 00:36:15,756 Speaker 1: want a drum to these words. They're so wild. We'll 564 00:36:15,796 --> 00:36:18,796 Speaker 1: be right back with more from Robbie Krieger and John Densmore. 565 00:36:19,036 --> 00:36:25,236 Speaker 1: After a quick break, we're back with the rest of 566 00:36:25,316 --> 00:36:29,236 Speaker 1: Rick's conversation with the Doors. Robbie Krieger and John Densmore. 567 00:36:30,076 --> 00:36:33,876 Speaker 1: Anything more about love, that's a little more to talk about, 568 00:36:34,516 --> 00:36:37,036 Speaker 1: not the doors, right. Oh yeah, we got all the way. 569 00:36:37,076 --> 00:36:39,516 Speaker 1: We think you can go wherever you're comfortable going. This 570 00:36:39,636 --> 00:36:42,756 Speaker 1: final we got self centered. Well anyway, like I said, 571 00:36:42,756 --> 00:36:47,876 Speaker 1: I kind of met Brian earlier on and I used 572 00:36:47,916 --> 00:36:51,196 Speaker 1: to see him play and stuff, and he looked kind 573 00:36:51,236 --> 00:36:54,076 Speaker 1: of like Brian Jones, you know, had that nice hair 574 00:36:54,276 --> 00:36:57,396 Speaker 1: due and stuff. So I decided I wanted my hair 575 00:36:57,436 --> 00:37:02,236 Speaker 1: to look like that, and so I get this hair straightener, 576 00:37:02,516 --> 00:37:04,556 Speaker 1: you know, because I had I had the real afro 577 00:37:04,716 --> 00:37:09,076 Speaker 1: hair and back now so Man, Billy Wolf, we both 578 00:37:09,236 --> 00:37:14,676 Speaker 1: had the afron kind of hair, Jewish kink and yeah, 579 00:37:16,476 --> 00:37:18,676 Speaker 1: we got this stuff. I figure what it was called. 580 00:37:18,716 --> 00:37:22,476 Speaker 1: But it really worked on me. Man, I looked like 581 00:37:22,756 --> 00:37:25,796 Speaker 1: fucking Brian. You know. Even Wolf said, hey, Man, you 582 00:37:25,836 --> 00:37:31,436 Speaker 1: look like that jerk Brian. Uh, my client. And so 583 00:37:31,476 --> 00:37:34,876 Speaker 1: that's right before I met the Doors, before I tried 584 00:37:34,916 --> 00:37:37,876 Speaker 1: out for the Doors. So I had the good hair, man, 585 00:37:38,116 --> 00:37:42,836 Speaker 1: I think that's why I got the job. And then 586 00:37:42,996 --> 00:37:44,956 Speaker 1: a couple of months later when it grew back out, 587 00:37:44,996 --> 00:37:47,796 Speaker 1: and I remember Jim going, what happened to your hair? 588 00:37:49,636 --> 00:37:54,116 Speaker 1: But by that time they needed me. Why did Why 589 00:37:54,116 --> 00:37:57,156 Speaker 1: did your friend refer to him as a jerk? Brian? Oh, 590 00:37:57,316 --> 00:38:00,356 Speaker 1: it was just a friend, Leaf saying he was a 591 00:38:00,356 --> 00:38:04,756 Speaker 1: competitive guitar player. Yeah. Yeah, we were jealous of him 592 00:38:04,796 --> 00:38:08,236 Speaker 1: because he he was in a big group. You know. 593 00:38:08,396 --> 00:38:15,276 Speaker 1: It's interesting long hair during that time, on the both coasts, 594 00:38:15,876 --> 00:38:18,996 Speaker 1: there were long hairs but in the middle of the country. 595 00:38:21,356 --> 00:38:24,716 Speaker 1: And one time after a New York gig, Ray and 596 00:38:24,876 --> 00:38:28,476 Speaker 1: I and his girlfriend Dorothy drove across the country because 597 00:38:28,476 --> 00:38:30,596 Speaker 1: we had no money, and so we got a car 598 00:38:30,676 --> 00:38:33,636 Speaker 1: we could deliver as long as we paid the gas. 599 00:38:34,196 --> 00:38:38,996 Speaker 1: And we stopped at a diner in Ohio. Ray and 600 00:38:39,036 --> 00:38:42,156 Speaker 1: I had long hair and Dorothy's Japanese. We go in 601 00:38:42,356 --> 00:38:46,916 Speaker 1: and holy shit, there's these guys at the counter with 602 00:38:46,996 --> 00:38:50,636 Speaker 1: red paint on the back of their necks and they're 603 00:38:51,116 --> 00:38:55,676 Speaker 1: scowling at us, and it was scary. I mean, even 604 00:38:55,676 --> 00:38:57,916 Speaker 1: in La at that time, we were like the only 605 00:38:57,956 --> 00:39:01,796 Speaker 1: long hairs around pretty much. I mean, I remember one 606 00:39:01,796 --> 00:39:05,996 Speaker 1: time me and Jim went to eat at Ships. I 607 00:39:06,036 --> 00:39:09,596 Speaker 1: think it was remember Ships, Yeah, I think you were 608 00:39:09,596 --> 00:39:13,836 Speaker 1: there coffee shop in Westwood. Yeah, And we we started, 609 00:39:14,236 --> 00:39:16,636 Speaker 1: you know, sat down ordering stuff and there was some 610 00:39:17,116 --> 00:39:20,596 Speaker 1: marines next to us, and they started giving us ship 611 00:39:20,796 --> 00:39:23,876 Speaker 1: all right, and so we kind of got started giving 612 00:39:23,916 --> 00:39:28,916 Speaker 1: them ship back and were you there? And so finally 613 00:39:28,916 --> 00:39:32,396 Speaker 1: we started to leave and they came out and grabbed 614 00:39:32,476 --> 00:39:35,956 Speaker 1: us and the one guy was meant beating Jim with 615 00:39:36,036 --> 00:39:40,636 Speaker 1: a whoa the pay phone, you know, and Jim, Jim 616 00:39:40,676 --> 00:39:44,036 Speaker 1: was just laughing, he goes call the cops. Ha ha ha. 617 00:39:45,116 --> 00:39:48,876 Speaker 1: You know he didn't mind being beat up. Remember I 618 00:39:48,996 --> 00:39:51,916 Speaker 1: wasn't there, but it's reminded me of these these guys 619 00:39:51,956 --> 00:39:55,396 Speaker 1: in Ohio were like saying to the waitress, Shureley, you 620 00:39:55,476 --> 00:40:03,516 Speaker 1: got a scissors. Some of these girls need a hair. Yeah. 621 00:40:03,556 --> 00:40:06,996 Speaker 1: I remember quite a few times that uppen And it's 622 00:40:07,036 --> 00:40:09,556 Speaker 1: interesting now you know, then the punks I'm along to 623 00:40:09,636 --> 00:40:16,996 Speaker 1: shave their heads and so now whatever anything's cool, I 624 00:40:17,156 --> 00:40:19,916 Speaker 1: like it. There's a liberation. I bet either are still 625 00:40:19,956 --> 00:40:22,436 Speaker 1: places you could find in the United States where you 626 00:40:22,476 --> 00:40:26,076 Speaker 1: could go and not feel welcome. I'd say it's a 627 00:40:26,076 --> 00:40:29,476 Speaker 1: big country. It's a big country. There's still plenty of place. 628 00:40:30,476 --> 00:40:33,476 Speaker 1: So would you say that spirituality played a role in 629 00:40:33,556 --> 00:40:40,076 Speaker 1: the doors definitely, Yeah, definitely wasn't talked about as much 630 00:40:40,116 --> 00:40:45,996 Speaker 1: as Jim tried to squash. Well. I think he was 631 00:40:46,036 --> 00:40:50,956 Speaker 1: a searcher. Yeah, we were meditating. He was trying to 632 00:40:51,436 --> 00:40:54,476 Speaker 1: find out what was inside in his own way. You know, 633 00:40:55,196 --> 00:40:58,196 Speaker 1: it's all different versions of we could call it self 634 00:40:58,276 --> 00:41:00,876 Speaker 1: medicating in the case that TM it turns out to 635 00:41:00,916 --> 00:41:03,796 Speaker 1: be healthier for you than let's say alcohol. Yeah, but 636 00:41:03,876 --> 00:41:07,836 Speaker 1: it's definitely dealing with our inner self, trying to find something, 637 00:41:08,116 --> 00:41:11,276 Speaker 1: something more? What else is there? You know? So did 638 00:41:11,316 --> 00:41:15,196 Speaker 1: you guys practice TM? Oh yeah, I still do. We 639 00:41:15,316 --> 00:41:21,116 Speaker 1: did TM. We did TM for like the whole career. 640 00:41:21,956 --> 00:41:24,716 Speaker 1: Twice a day. We go, okay, we're going in the 641 00:41:24,796 --> 00:41:27,516 Speaker 1: vocal booth for twenty minutes. Do what you guys got 642 00:41:27,516 --> 00:41:29,996 Speaker 1: to do, and Robbie and I'd go meditate. Yeah, maybe 643 00:41:29,996 --> 00:41:35,036 Speaker 1: that's what grounded us through that crazy so amazing, I'd say, amazing. 644 00:41:35,876 --> 00:41:39,316 Speaker 1: And we actually took Jim to meet Maharishi one time. Wow, 645 00:41:39,356 --> 00:41:44,436 Speaker 1: how's that didn't turn out? That one? Okay? What happened? Him? 646 00:41:44,436 --> 00:41:47,396 Speaker 1: Didn't sign up? But I do remember him saying he 647 00:41:47,476 --> 00:41:49,676 Speaker 1: wanted to look in his eyes and see if he 648 00:41:49,756 --> 00:41:53,236 Speaker 1: had any knowledge, and he said he did, but he's 649 00:41:53,276 --> 00:41:57,156 Speaker 1: not going to meditate. Yeah okay, Yeah. By that time 650 00:41:57,196 --> 00:42:00,716 Speaker 1: it was bigger. The Beatles had started doing it. And 651 00:42:01,676 --> 00:42:05,356 Speaker 1: after the lecture and we brought Jim up to real 652 00:42:05,436 --> 00:42:10,196 Speaker 1: close to Maisie and tried to introduce him. I do remember, 653 00:42:10,476 --> 00:42:14,916 Speaker 1: you know, I was raised Catholic. I'm now a renegade, 654 00:42:15,236 --> 00:42:19,916 Speaker 1: of course, but I remember first time being in Mahaishi's 655 00:42:19,996 --> 00:42:24,716 Speaker 1: presence and feeling a love vibe like I did not 656 00:42:24,916 --> 00:42:30,156 Speaker 1: get this from those priests and the black tourniquets. Wow, 657 00:42:30,676 --> 00:42:33,916 Speaker 1: I want this. Yeah, you know, I never got to 658 00:42:33,956 --> 00:42:37,556 Speaker 1: meet Mahaishi. I learned TM when I was fourteen, and 659 00:42:38,676 --> 00:42:41,636 Speaker 1: like you guys, it has I realized that it had 660 00:42:41,676 --> 00:42:44,556 Speaker 1: a big impact on my life. Yeah, I noticed how 661 00:42:44,556 --> 00:42:51,636 Speaker 1: you're sitting, no question, no question. I include that as 662 00:42:51,716 --> 00:42:54,356 Speaker 1: part of who I am. You know, I don't think 663 00:42:54,396 --> 00:42:57,436 Speaker 1: I would be the same person without that. I think 664 00:42:57,436 --> 00:43:01,836 Speaker 1: of Maharishi as kind of jump starting this whole thing. 665 00:43:03,076 --> 00:43:07,956 Speaker 1: Indian music, Robbie Shankar, the whole culture, Hindu culture at all, 666 00:43:08,036 --> 00:43:12,316 Speaker 1: got a big push from him, really and is still 667 00:43:12,396 --> 00:43:17,796 Speaker 1: here absolutely in various forms, and what a gift. Yeah. 668 00:43:17,836 --> 00:43:21,756 Speaker 1: You know what's interesting is in the sixties there was 669 00:43:21,796 --> 00:43:26,916 Speaker 1: no Internet, and wow, the Beatles happened to be experimenting 670 00:43:26,916 --> 00:43:31,036 Speaker 1: with psychedelics like we were. The Beatles happened at our 671 00:43:31,436 --> 00:43:34,596 Speaker 1: musicians over there all kind of got into meditation like 672 00:43:34,716 --> 00:43:40,436 Speaker 1: we were. What's going on here? Carl Jung's archetypal undercurrents 673 00:43:40,516 --> 00:43:44,916 Speaker 1: across the globe to get cosmic. But yeah, something going on, 674 00:43:45,116 --> 00:43:48,276 Speaker 1: you know. Yeah, And it wasn't people imitating each other. 675 00:43:48,516 --> 00:43:52,036 Speaker 1: It was just it was blossoming in the culture. The 676 00:43:52,076 --> 00:43:56,796 Speaker 1: Beatles did imitate us. We were meditating before they were. Yeah, right, 677 00:43:58,956 --> 00:44:01,876 Speaker 1: so we get technical amount it. And you were taking 678 00:44:01,916 --> 00:44:07,156 Speaker 1: acid before them too. Probably. Actually, when I was in college, 679 00:44:07,236 --> 00:44:11,396 Speaker 1: I had real Sando acid. Yeah, that was the stuff 680 00:44:11,476 --> 00:44:16,596 Speaker 1: they Who was the guy that was doing those? Leary Albert? 681 00:44:17,316 --> 00:44:22,716 Speaker 1: Who's later round us? Right, who's the guy who made it? 682 00:44:23,436 --> 00:44:28,116 Speaker 1: The guy in San Francis. So Alsley comes to one 683 00:44:28,156 --> 00:44:32,756 Speaker 1: of our gigs and he comes backstage and he says, 684 00:44:33,396 --> 00:44:36,356 Speaker 1: you guys need a bass player. Man, there's a hole 685 00:44:36,396 --> 00:44:39,156 Speaker 1: in your sound, you know. And he leaves and I 686 00:44:39,196 --> 00:44:43,276 Speaker 1: said to Ray, Wow, we're making the King of Acid nervous. 687 00:44:43,316 --> 00:44:48,556 Speaker 1: I think we're on the right track. Yeah, how did 688 00:44:48,596 --> 00:44:50,196 Speaker 1: it work out that you decided not to have a 689 00:44:50,196 --> 00:44:53,396 Speaker 1: bass player? It's interesting. We tried. We had a girl 690 00:44:53,476 --> 00:44:56,716 Speaker 1: bass player for a minute. We sounded like the Stones, 691 00:44:56,876 --> 00:45:00,476 Speaker 1: some white blues man or something. We tried a few 692 00:45:00,476 --> 00:45:03,476 Speaker 1: bass players, and we always had a bass pretty much 693 00:45:03,516 --> 00:45:06,156 Speaker 1: on the records. Yeah, well that was to make up 694 00:45:06,236 --> 00:45:10,356 Speaker 1: for there was no mood synthesizers. So raised keyboard. Ray 695 00:45:10,436 --> 00:45:12,716 Speaker 1: found this keyboard bass and then we, ah, that's it. 696 00:45:12,996 --> 00:45:16,276 Speaker 1: We don't need a basic business but recording it worked 697 00:45:16,276 --> 00:45:19,596 Speaker 1: on some songs like break on Through that's just like 698 00:45:19,756 --> 00:45:24,036 Speaker 1: yboard in the end, and control of other ones, but 699 00:45:24,156 --> 00:45:26,796 Speaker 1: other ones that needed that plucking from a string with 700 00:45:27,796 --> 00:45:31,516 Speaker 1: various bass players over dubbed raised lines and actually on 701 00:45:31,796 --> 00:45:38,356 Speaker 1: Backdoorman and Soul Kitchen was me overdooming the bass. Oh, 702 00:45:38,436 --> 00:45:43,316 Speaker 1: there was again a rumor that John Sebastian played bass 703 00:45:43,356 --> 00:45:48,236 Speaker 1: on one of your albums, Play Atlantic Harmonica on Roadhouse. 704 00:45:48,516 --> 00:45:53,276 Speaker 1: Really okay, so you'll notice that John Sebastian, the hard 705 00:45:53,316 --> 00:45:58,396 Speaker 1: player credited on Roadhouse is ge Pool Yayzy, which was 706 00:45:58,396 --> 00:46:01,516 Speaker 1: a synonym for John Sebastian. Then that was his real name. 707 00:46:02,276 --> 00:46:05,476 Speaker 1: What is his real name? That's his real name, Giovanni 708 00:46:05,556 --> 00:46:09,436 Speaker 1: Pool Glacie is his real name? Really? Yeah, I think 709 00:46:09,476 --> 00:46:12,756 Speaker 1: that would sound good as right, I thought he but 710 00:46:12,836 --> 00:46:15,116 Speaker 1: I had heard that he didn't want to be associated 711 00:46:15,156 --> 00:46:18,276 Speaker 1: with the Doors. It was his record company didn't want 712 00:46:18,316 --> 00:46:22,036 Speaker 1: his attempt to use his name, right, But also the Doors, 713 00:46:22,636 --> 00:46:26,916 Speaker 1: you know, I mean, there's this wonderful flower power thing 714 00:46:26,956 --> 00:46:30,796 Speaker 1: with the birds and all the mamas and papa's in it. 715 00:46:31,236 --> 00:46:36,076 Speaker 1: We loved it, but we were the underbelly the undeclared 716 00:46:36,196 --> 00:46:41,476 Speaker 1: Vietnam War, the shadows, and people did not like us. 717 00:46:41,516 --> 00:46:44,636 Speaker 1: Some they it made them nervous to be associated with 718 00:46:44,756 --> 00:46:47,356 Speaker 1: us because we were dark. I don't think that was it. 719 00:46:47,756 --> 00:46:50,956 Speaker 1: Well good, I'm glad we disagree now. I heard just 720 00:46:51,036 --> 00:46:55,796 Speaker 1: a little earlier from a moderator that tension create is creativity. 721 00:46:56,156 --> 00:47:04,676 Speaker 1: How fuck you? Well, fuck you? So good? Okay, so 722 00:47:04,716 --> 00:47:11,516 Speaker 1: I see the TM's been working. Okay. Was it when 723 00:47:11,516 --> 00:47:13,116 Speaker 1: you got to play at the Hollywood Bowl? Did that 724 00:47:13,156 --> 00:47:16,476 Speaker 1: feel like a big deal at the time? Oh? Yeah, yeah, 725 00:47:16,556 --> 00:47:19,356 Speaker 1: sure sure. Did anythink we were one of the first 726 00:47:20,076 --> 00:47:23,556 Speaker 1: Did the Beatles play there? Yeah? I think the only 727 00:47:23,596 --> 00:47:26,476 Speaker 1: the Beatles had played? But of course, you know, they 728 00:47:26,876 --> 00:47:33,236 Speaker 1: made us have a decibel limit in that ruin. Yeah, 729 00:47:33,316 --> 00:47:35,756 Speaker 1: and we had. That was the first time that we 730 00:47:35,956 --> 00:47:40,236 Speaker 1: actually brought real cameras and movie cameras and stuff to 731 00:47:40,236 --> 00:47:43,276 Speaker 1: film the show. So it looks real good. But uh, 732 00:47:43,716 --> 00:47:47,116 Speaker 1: and Jim took acid and didn't tell us. Yeah, great, 733 00:47:47,156 --> 00:47:50,196 Speaker 1: well why would he tell us? And it was fine, 734 00:47:50,356 --> 00:47:53,356 Speaker 1: but there was something just wasn't a good show. I 735 00:47:53,356 --> 00:47:56,636 Speaker 1: remember saying to you coming off stage, Robbie, what what? 736 00:47:56,796 --> 00:48:01,796 Speaker 1: And he you said, he took assid just so he 737 00:48:01,836 --> 00:48:04,116 Speaker 1: got and sometimes when he asked he was great, but 738 00:48:04,196 --> 00:48:06,676 Speaker 1: at this time he got real introverted and he kind 739 00:48:06,676 --> 00:48:11,316 Speaker 1: of just didn't move around. He saw a moth on 740 00:48:11,356 --> 00:48:14,756 Speaker 1: the astro turf and picked it up and was examining it. 741 00:48:15,396 --> 00:48:18,756 Speaker 1: And then it didn't help that his girlfriend Pam was 742 00:48:18,796 --> 00:48:21,476 Speaker 1: sitting with Mick Jagger right in the front row, right 743 00:48:21,676 --> 00:48:25,716 Speaker 1: because Jagger went out to dinner with us before and 744 00:48:25,796 --> 00:48:28,996 Speaker 1: we wanted to be really good for him, and damn it, 745 00:48:29,156 --> 00:48:32,276 Speaker 1: I mean, it's good. What did he What did he say? 746 00:48:32,316 --> 00:48:34,676 Speaker 1: Somebody asked him about that. He said it was in 747 00:48:34,836 --> 00:48:37,476 Speaker 1: Melody Maker. The doors are nice, chaps, but they went 748 00:48:37,516 --> 00:48:46,476 Speaker 1: on a bit long. But I mean, it looks great, 749 00:48:46,676 --> 00:48:48,916 Speaker 1: it looks good. Who was the last show you guys 750 00:48:48,956 --> 00:48:51,876 Speaker 1: did New Orleans? I was trying to forget about. That 751 00:48:53,516 --> 00:48:57,876 Speaker 1: was a bad one. Yeah. The night before was Dallas 752 00:48:58,356 --> 00:49:01,596 Speaker 1: and we were trying out Riders Live Riders on the 753 00:49:01,636 --> 00:49:04,516 Speaker 1: Storm and we were kind of wow, maybe we could 754 00:49:04,596 --> 00:49:07,596 Speaker 1: kind of be a jazz rock thing. Maybe we got 755 00:49:07,756 --> 00:49:10,676 Speaker 1: it's going to be different. And the next night Jim 756 00:49:10,756 --> 00:49:15,716 Speaker 1: was drunk too drunk, Yeah, sat on the on the 757 00:49:15,796 --> 00:49:19,836 Speaker 1: drum riser in the middle, just his head down the 758 00:49:19,956 --> 00:49:22,756 Speaker 1: middle of the show, I walk around and sit next 759 00:49:22,796 --> 00:49:27,676 Speaker 1: to him. Hey, man, what do you want to play next? Hello? 760 00:49:28,956 --> 00:49:32,196 Speaker 1: And isn't that when Ray said he saw jim soul 761 00:49:32,356 --> 00:49:34,636 Speaker 1: leave his body or something like Race said he saw 762 00:49:34,676 --> 00:49:41,236 Speaker 1: his spirit exit? Ah, it was the last show we attempted. Yeah, 763 00:49:41,836 --> 00:49:43,996 Speaker 1: I was lobbying for a year to get off the 764 00:49:44,076 --> 00:49:47,716 Speaker 1: road because in the studio, if he's too messed up, 765 00:49:47,756 --> 00:49:50,436 Speaker 1: we go home. But in front of ten thousand people, 766 00:49:51,036 --> 00:49:53,356 Speaker 1: and we were really good live in the beginning, just 767 00:49:53,476 --> 00:49:56,636 Speaker 1: pin dropped home. You think do you think success played 768 00:49:56,676 --> 00:50:03,636 Speaker 1: a role in his destruction self destruction? Some probably, it's 769 00:50:03,676 --> 00:50:06,316 Speaker 1: not just that. I think it would have happened anyway, 770 00:50:06,476 --> 00:50:09,316 Speaker 1: you do. Yeah, here's a line someone said to me, 771 00:50:09,476 --> 00:50:13,436 Speaker 1: blew my mind. Maybe if Jim hadn't met you guys, 772 00:50:13,476 --> 00:50:20,436 Speaker 1: he would have died sooner. Interesting who interesting? Thought? Yeah? Yeah, 773 00:50:20,476 --> 00:50:23,716 Speaker 1: because at least he had something to do he channeled. Yeah, 774 00:50:23,716 --> 00:50:26,236 Speaker 1: I mean he lived to be on stage. Yeah, he 775 00:50:26,636 --> 00:50:29,716 Speaker 1: enjoyed performing. Oh yeah's interesting. I wouldn't I wouldn't have 776 00:50:29,756 --> 00:50:32,116 Speaker 1: known that if you didn't say it. No, we're kidding. 777 00:50:32,236 --> 00:50:35,236 Speaker 1: Wouldn't have known that well, because he seemed so scary 778 00:50:35,276 --> 00:50:39,156 Speaker 1: and serious and dark and weird, but he knew. When 779 00:50:39,196 --> 00:50:43,276 Speaker 1: you're performing, you can feel if the audience is a 780 00:50:43,276 --> 00:50:48,036 Speaker 1: Madison Square garden or a club, that's one person and 781 00:50:48,156 --> 00:50:51,356 Speaker 1: the performer is a duet or an orchestra, that's the 782 00:50:51,436 --> 00:50:54,916 Speaker 1: other person, and the two of you are going to 783 00:50:55,116 --> 00:50:59,036 Speaker 1: dance tonight, and the mystery and excitement is what is 784 00:50:59,076 --> 00:51:01,996 Speaker 1: it going to be? A waltz, a salsa, a riot? 785 00:51:02,676 --> 00:51:06,276 Speaker 1: You know, And that's what's so kinetic about Energetically you 786 00:51:06,476 --> 00:51:10,356 Speaker 1: feel that interaction. Yeah, and maybe that's why bands like 787 00:51:10,396 --> 00:51:12,916 Speaker 1: your band, bands like Love, bands like The Grateful Dead 788 00:51:12,916 --> 00:51:16,956 Speaker 1: for that matter. There Today there seems to be more 789 00:51:16,996 --> 00:51:21,036 Speaker 1: and more artists who just are putting on a show 790 00:51:22,196 --> 00:51:26,356 Speaker 1: and people are watching this thing, but there's very little interaction, 791 00:51:27,156 --> 00:51:29,836 Speaker 1: you know, like the show is the same every night. Yeah, 792 00:51:29,836 --> 00:51:34,836 Speaker 1: Whereas you guys would change according to what you were 793 00:51:34,876 --> 00:51:38,836 Speaker 1: feeling that some song, like some songs would have long 794 00:51:38,956 --> 00:51:41,676 Speaker 1: parts that got longer if it felt good that night. 795 00:51:42,836 --> 00:51:46,916 Speaker 1: It wasn't so scripted. Yeah, But you guys also were 796 00:51:46,956 --> 00:51:50,356 Speaker 1: influenced by jazz, and it wouldn't be unusual to have 797 00:51:50,436 --> 00:51:55,036 Speaker 1: a long song in jazz, so bringing that bringing that 798 00:51:55,196 --> 00:52:01,916 Speaker 1: jazz sensibility into popular music super cool and Robbie Genkar, 799 00:52:02,196 --> 00:52:04,636 Speaker 1: I mean, yeah, we sat next to the man and 800 00:52:04,796 --> 00:52:08,556 Speaker 1: ragas are fifteen minutes. Yes, and Robbie, Robbie was like, 801 00:52:08,636 --> 00:52:12,196 Speaker 1: you know, yeah, you in America want a climax too soon, 802 00:52:12,396 --> 00:52:15,956 Speaker 1: you know, take your time with the four play metaphorical. Yes. 803 00:52:16,036 --> 00:52:18,756 Speaker 1: And we were steeped in that. Yes. When I first 804 00:52:18,756 --> 00:52:23,716 Speaker 1: met Ray, he played me Robbie Shankar's theme from Panther 805 00:52:23,916 --> 00:52:28,716 Speaker 1: Panchali and it had jazz guys on jazz and raga. 806 00:52:28,876 --> 00:52:34,676 Speaker 1: It's like, wow, let's soak up this amazing. Yeah, cool, 807 00:52:35,156 --> 00:52:42,076 Speaker 1: what a pleasure. Thank you and talking about this guy. Yeah. 808 00:52:42,396 --> 00:52:45,276 Speaker 1: Thanks to Robbie Krieger and John Densmore for sharing so 809 00:52:45,276 --> 00:52:49,436 Speaker 1: many incredible stories about Jim Morrison and the Doors. You 810 00:52:49,476 --> 00:52:51,476 Speaker 1: can hear all of our favorite Doors songs on my 811 00:52:51,556 --> 00:52:55,156 Speaker 1: playlist at broken record podcast dot com. Be sure to 812 00:52:55,196 --> 00:52:58,436 Speaker 1: subscribe to our YouTube channel at YouTube dot com slash 813 00:52:58,556 --> 00:53:01,276 Speaker 1: Broken Record Podcast, where you can find all of our 814 00:53:01,316 --> 00:53:04,756 Speaker 1: new episodes. You can follow us on Twitter at broken Record. 815 00:53:05,156 --> 00:53:08,996 Speaker 1: Broken Record is produced help from Lea Rose, Jason Gambrel, Vantaliday, 816 00:53:09,276 --> 00:53:12,516 Speaker 1: Eric Sandler, and Jennifer Sanchez, with engineering help from Nick 817 00:53:12,596 --> 00:53:17,316 Speaker 1: Chaffey Our executive producer is Mia Lobell. Broken Record is 818 00:53:17,316 --> 00:53:20,276 Speaker 1: a production of Pushkin Industries. If you like this show 819 00:53:20,276 --> 00:53:24,276 Speaker 1: and others from Pushkin, consider subscribing to Pushkin Plus. Pushkin 820 00:53:24,316 --> 00:53:27,516 Speaker 1: Plus is a podcast subscription that offers bonus content an 821 00:53:27,596 --> 00:53:30,716 Speaker 1: uninterrupted ad free listening for four ninety nine a month. 822 00:53:31,356 --> 00:53:35,076 Speaker 1: Look for Pushkin Plus on Apple Podcasts subscriptions, and if 823 00:53:35,076 --> 00:53:37,316 Speaker 1: you like the show, please remember to share, rate, and 824 00:53:37,356 --> 00:53:40,036 Speaker 1: review us on your podcast app. Or the musics by 825 00:53:40,116 --> 00:53:41,916 Speaker 1: Kenny Beats. I'm Justin Richard.