Speaker 1: Pushkin. Hey everyone, Today we have a fun follow up
Speaker 1: to last week's episode with Johnny Echoes from the band Love.
Speaker 1: This week we'll hear Rick interview the last two living
Speaker 1: members of The Doors, guitarist Robbie Krieger and drummer John Densmore,
Speaker 1: about coming up in the LA rock scene alongside Love,
Speaker 1: who the Doors idolized and then later eclipsed. The Doors
Speaker 1: formed in nineteen sixty five and burned white hot until
Speaker 1: the death of their larger than life lead singer Jim Morrison.
Speaker 1: They're released six albums in only five years, and then
Speaker 1: that brief time as a band, The Doors quickly became
Speaker 1: one of the biggest acts of the sixties. Their antiflower
Speaker 1: power appeal was accentuated by Jim Morrison's brooding lyrics and
Speaker 1: keyboardist Raymond zeris frenzied organ Lakes. On today's episode, Rick
Speaker 1: Ruban talks to Robbie Krieger and John ends More about
Speaker 1: their tumultuous history with Jim Morrison, who John refers to
Speaker 1: as a Kama Kazi drunk. Both Robbie and John recall
Speaker 1: LSD fueled stories from their early gigs with The Doors
Speaker 1: and the role Acapulco Gold played in Jim Morrison's songwriting process.
Speaker 1: This is broken record liner notes for the Digital Age.
Speaker 1: I'm justin Mitchman. Here's Rick Rubin with doors, guitarist Robbie
Speaker 1: Krieger and drummer John Densmore. Well, thank you so much
Speaker 1: for doing this. I thought it would be interesting to
Speaker 1: talk about the album Love Forever Changes, because I love
Speaker 1: that album and it seems unusual. Yeah. It, first of all,
Speaker 1: it doesn't sound like even Loves other records. The ones
Speaker 1: that earlier were more rock, yeah, and then Forever Changes
Speaker 1: was more acoustic, but classical as well. Yeah. They had
Speaker 1: some good players on that right too. But you could
Speaker 1: I mean that's when they were kind of started fighting
Speaker 1: among them, so right, yeah, you could kind of tell that.
Speaker 1: It's interesting also that the Beatles were sort of not
Speaker 1: in a great place when they made the White album
Speaker 1: with each other, and it's one of the best. There's
Speaker 1: something about when there's friction in the band's something good.
Speaker 1: That's why we are so big. Let me tell you,
Speaker 1: Oh my god, I don't think you guys as having
Speaker 1: friction again. I don't know anything. It was three against
Speaker 1: one the whole time. It is Jim, what is he
Speaker 1: going to do tonight? Oh my god, it's just craziness. Yeah. Yeah.
Speaker 1: Was he being provocative for the sake of being provocative
Speaker 1: or he was just being himself? All of the above, Yeah,
Speaker 1: that was part of it. He liked to, you know,
Speaker 1: get people's goats, but you guys as well or not
Speaker 1: sure he would he would like yeah after a while winding.
Speaker 1: He knew that it wouldn't work after a while with us,
Speaker 1: but it didn't stop him from trying. I remember when
Speaker 1: I met I met his sister, she said, you know,
Speaker 1: my brother growing up was always pressing our buttons. Did
Speaker 1: he do that to you guys? Testing Let's see what boundary?
Speaker 1: Where the boundaries are or whatever? What would be an
Speaker 1: example of something that would happen that would you would
Speaker 1: find questionable. Let's see, he didn't have a phone, he
Speaker 1: didn't have a car, so I had a car sometimes adventure,
Speaker 1: but remember we crash it. We got an apartment, had
Speaker 1: a place upstairs so he could be there, so we
Speaker 1: could mind next door because he was on a rooftop
Speaker 1: in Venice and we just have to drive down there
Speaker 1: to get him, you know. And he would just stay
Speaker 1: with different girlfriends every night, so you never knew where
Speaker 1: he was. But finally we got this place there and
Speaker 1: there was a place for him right next door that
Speaker 1: he wasn't around there much. What's interesting also is that
Speaker 1: both of your bands essentially had lead poets as opposed
Speaker 1: to lead singers, which is unusual. Yeah. Yeah, I'm trying
Speaker 1: to recollect when I first saw love and I think
Speaker 1: it was at Beato Lados and did we go together? Yeah? Yeah,
Speaker 1: so what year was that, approximately sixty five sixty four?
Speaker 1: Had they already put out records at that time or no, no, no, no,
Speaker 1: we were rehearsing. Maybe we would just starting, maybe not
Speaker 1: even with the doors yet. Maybe it was with Psychedelic
Speaker 1: Rangers or something. Yeah, but we went out to this
Speaker 1: club and it was cool because it was you didn't
Speaker 1: have to be twenty one, because we could never get
Speaker 1: in anywhere because we weren't twenty one. How old were
Speaker 1: you at the time, You remember about the eighteen, eighteen,
Speaker 1: seventeen or eighteen. So anyway, we walk in and their
Speaker 1: playing and I had never heard a loud band before.
Speaker 1: These were the loudest band I've ever heard. I mean
Speaker 1: they had the big amps and shit, and before that
Speaker 1: I'd only been to folk music, you know, Budding Travis,
Speaker 1: Josh White Blues, you know, muddy water stuff. I had
Speaker 1: never heard anything like this. I mean it was fucked,
Speaker 1: you know, it was cranking and uh that just blew
Speaker 1: me away. Yeah, yeah, exactly. Was it obvious when you
Speaker 1: saw them what their influences were. It was a culture
Speaker 1: shock because here's this black lead singer who he's wearing
Speaker 1: granny glasses like Roger mcgunn from the Birds psychedelic but
Speaker 1: at the time, you know Afros and funk, you know,
Speaker 1: so they're they're electrified folk rock with a black lead
Speaker 1: singer singing this way out psychedelic reincarnation. It was mind
Speaker 1: blowing anyway, So you know, this this world we walked
Speaker 1: into and went wow, Johnny Johnny eccles had this double
Speaker 1: neck guitar, which I'd never seen one of those before. Yeah,
Speaker 1: that was incredible too. Well, you know, Okay, so we're
Speaker 1: playing the London Fog a few doors down from the Whiskey,
Speaker 1: This Dump and Love is at Whiskey and during the
Speaker 1: break I go down there and stand outside and just
Speaker 1: drool over being in that band, and I'm thinking I'm
Speaker 1: better than that drummer. I think he's a sweet guyop Snoopy,
Speaker 1: Yeah Snoopy, you know. And actually, eventually on Forever Changes
Speaker 1: they had studio I think just for one or two songs,
Speaker 1: because at least there's one one version of the story
Speaker 1: where I think how Blaine played on just two songs. Yeah,
Speaker 1: and then the band kind of decided we better get
Speaker 1: serious otherwise we're not going to play again. I don't
Speaker 1: know that that's the lords don't correct, that's correct, right? Yeah?
Speaker 1: And Carol Kay played bass on on a couple too. Wow. Yeah,
Speaker 1: you know. Dennis Wilson, he didn't mind how playing on
Speaker 1: the stuff. He was cool with it, of course, yeah,
Speaker 1: you know. And I was thinking, I'm as good as
Speaker 1: these studio guys. Why am I not in love? Yeah?
Speaker 1: And then Arthur, you know, told the head of Electra,
Speaker 1: Jack Holsman, to see us, which was such a gracious
Speaker 1: thing to do. And it was it Arthur or Ronnie
Speaker 1: because Ronnie Harron always says it was her well that
Speaker 1: she managed him. So and then we skyrocketed past the band.
Speaker 1: Sorry guys, but that was so they were our idols. Yeah,
Speaker 1: it's it's it's the reason I wanted to talk to you, guys,
Speaker 1: is because most people know your band and many people
Speaker 1: don't know them, and I thought it would be interesting
Speaker 1: for you to talk about it, and it just gives
Speaker 1: it gives people an understanding of what you guys saw
Speaker 1: and the fact that you traveled the world and spread
Speaker 1: the message of the doors everywhere whereas Love didn't really
Speaker 1: do that for Love. I don't understand the details, but
Speaker 1: I understand that Arthur didn't want to really leave Los
Speaker 1: Angeles very much. I'll give you some details. He chained
Speaker 1: smoke dope and forever. Changes was just huge in England.
Speaker 1: It was like Sergeant Pepper time. And he would not
Speaker 1: get on a plane across They did go over there
Speaker 1: or one did they think later? I think Mayle, I
Speaker 1: think when, maybe even when the band broke, may have
Speaker 1: broken up by that. I think you're right, he might
Speaker 1: have been doing the hard stuff too by that time.
Speaker 1: I was afraid to go on the airplane. Yeah, yeah,
Speaker 1: so yeah, his reluctance didn't help at all. When did
Speaker 1: you first meet those guys? It's probably I mean, I
Speaker 1: think I met Brian earlier, but mainly it was at
Speaker 1: the Whiskey when we finally got the job at the
Speaker 1: whiskey and they, Yeah, they used to have They were
Speaker 1: the headline and every other group you ever heard of.
Speaker 1: So how did that work? What does the house band
Speaker 1: mean and what does the headliner mean? So we don't
Speaker 1: have that anymore. We were. We would start off the night,
Speaker 1: you know, eight o'clock when the place was half full.
Speaker 1: So you played there every night or six nights, yea. Yeah,
Speaker 1: we had to join the union. Remember, I think it
Speaker 1: was nine. We started at nine, played the first set,
Speaker 1: then the headliner played, then we played again, then they closed.
Speaker 1: So it was like being an opening you'd be the
Speaker 1: opening act, but you'd be the opening act for everybody
Speaker 1: all the time. Yeah. For for about a year for
Speaker 1: it was you just name them Captain Beefheart, the Birds,
Speaker 1: Van Morrison, Frank and the first one we did was
Speaker 1: them Van Morrison's band when he first had Gloria, and
Speaker 1: we got to be friends with them, and last night
Speaker 1: we got to play Gloria with them on stage, all
Speaker 1: of us. Yeah, we left some pictures of that, and
Speaker 1: that's when I thought his voice was the best ever.
Speaker 1: You know, just man, Gloria, come on, wow. And then
Speaker 1: you know when he came over him and played at
Speaker 1: the whiskey. We got to know him, and he was
Speaker 1: so shy. Man, he was like worse than Jim, you know.
Speaker 1: And then one night at a party he came and
Speaker 1: he was doing some of his new stuff and he
Speaker 1: did a Brown Eyed Girl, remember, just him and a guitar.
Speaker 1: He did snippets of astral Weeks too. I was thinking,
Speaker 1: he's so shy, he can't even talk, but then he
Speaker 1: grabs a guitar and wow. I would imagine by playing
Speaker 1: every night the residency probably made you guys really good,
Speaker 1: Like when you play together, you just get better. Yeah,
Speaker 1: I was there, and in New York we did the
Speaker 1: same thing at a place called on Dean's Club. Yeah,
Speaker 1: fifty nine Street Bridge every night from ninetel two. And yeah,
Speaker 1: Andy Warhol and all those giant people came later. They
Speaker 1: remember we started eleven and we go till five whatever,
Speaker 1: just five sets tonight. Amazing. Yeah, you get good. The
Speaker 1: thing about practice, it really does go. Oh that's the
Speaker 1: thing about today groups. They're lucky to get a gig
Speaker 1: on a weekend. Yes, you know, how can you get
Speaker 1: good like that? And it's also different practicing in front
Speaker 1: of people versus playing in a room. It's a whole
Speaker 1: different thing in front of people. Sure. Yeah, Well, then
Speaker 1: there's electronics, Jim said a long time ago. Maybe in
Speaker 1: the future music will be dismade by one guy with
Speaker 1: a bunch of machines. Did you say that? Yeah? Incredible,
Speaker 1: there it is. Yeah. And then Stevie Wondered came out
Speaker 1: with Talking Book a couple of years later, and yeah,
Speaker 1: and he played the drums on that as well as
Speaker 1: other shit, Oh my god, amazing. Yeah, those were the
Speaker 1: days at that time. Will you playing your own material?
Speaker 1: Where you playing covers? Both in the London fog, We
Speaker 1: learned Willie and Gloria and crap to get by, and
Speaker 1: we'd sneak in our own stuff and if the whiskey,
Speaker 1: i'd say, remember the first set when nobody was there,
Speaker 1: we'd just do what we call it Latin bullshit number
Speaker 1: two and we just jam on some Latin stuff and
Speaker 1: then as people started coming in, we'd lay on them. Unfortunately,
Speaker 1: the times had changed and you didn't have to do
Speaker 1: rock hits and you could do your own stuff and
Speaker 1: then we'd smack them with the end. Did you end
Speaker 1: with the end every day? Yeah? Pretty much, wouldn't or
Speaker 1: light my fire would end light my fire. Everybody be dancing,
Speaker 1: and then the encore would be the end and people
Speaker 1: would file out quietly, no applause. Holy shit, they were bludgeoned.
Speaker 1: So great, so great, But you know, I want to
Speaker 1: jump for a second. I'm thinking of the parallel between
Speaker 1: Arthur and Jim. I have this theory that a great
Speaker 1: song it is a wedding between the way the lyrics
Speaker 1: fit with the melody. And damn, those two guys not
Speaker 1: only had these incredible words, they're they're stitched to gorgeous melodies. Yes,
Speaker 1: you know Arthur and Jim. And Jim couldn't play a
Speaker 1: chord on any instrument, but had he said he thought
Speaker 1: of melodies to remember the words, Oh my God? And
Speaker 1: you know roadhouse blues, that's not a difficult melody. But
Speaker 1: now I'm going to prove why I'm the drummer and
Speaker 1: not the singer. Before you slip into unconsciousness. That's some
Speaker 1: hard chord changes. That's not you know, it's like Jazzy
Speaker 1: and he had it in his head, gifted, yeah, and
Speaker 1: and he just you know, it's not like he sat
Speaker 1: down at the piano and picked out the notes. He
Speaker 1: actually would do a little capoolko gold, and he said
Speaker 1: he heard a concert in his head. Wow, all he
Speaker 1: had to do is remember it. Wow. And would those
Speaker 1: would those melodies always come after hearing the music, or
Speaker 1: might he sing you a melody and then you'd figure
Speaker 1: out what the song was? Well, in those early days,
Speaker 1: it was, you know, he would have the melody in
Speaker 1: his head, and before I was even in the band,
Speaker 1: Ray would help him, you know, pick out the drive
Speaker 1: kind of was etched out before yea, even Hello I
Speaker 1: Love You was kind of like but when Robbie came
Speaker 1: along with the band was formed, and then Jim would
Speaker 1: just sing a cappella and we'd wait, wait, hold it
Speaker 1: f sharp, okay, go on. And even in the songs
Speaker 1: that I wrote, he would often change that melody. He couldn't,
Speaker 1: you know. I would say, okay, sing it like this,
Speaker 1: you know, and he couldn't do it. You know, he
Speaker 1: wasn't a musician, so he would do something a little
Speaker 1: different and it was usually better than what I had
Speaker 1: thought of. He just naturally had a s and yeah, yeah,
Speaker 1: like on light my Fire, you know, my my first
Speaker 1: melody was more like, uh, you know that it will be,
Speaker 1: but he, you know, he simplified it a little bit
Speaker 1: and it actually was better. Amazing, And you know, in
Speaker 1: the very beginning he didn't have that deep baritone. He
Speaker 1: was so shy, wouldn't face the audience. But eventually, Wow,
Speaker 1: And you think about other singers who blew their chords
Speaker 1: and had to have operations and stuff. And Jim could
Speaker 1: scream from the bowels like he was ripping his throat out. Yeah,
Speaker 1: but he never had. He did it for five years.
Speaker 1: If he had continued, I'm sure he never did while
Speaker 1: we were with him. Never, never, He never lost his choice.
Speaker 1: I've had so many singers that I've played with over
Speaker 1: the years who you know, couldn't make it through a
Speaker 1: whole show. Yeah, especially Doors songs, the keys they're in,
Speaker 1: they're meant for Jim's his octave range was incredible. It's
Speaker 1: an interesting thing about there are certain bands, like the Beatles.
Speaker 1: A lot of people cover Beatles songs. Not a lot
Speaker 1: of people covered Doors songs so much. But I think
Speaker 1: it has to do with the nature of the band
Speaker 1: is so unique that the sound of it is as
Speaker 1: important as the song. It's like the whole thing is
Speaker 1: one and if you take you guys out of it,
Speaker 1: the song doesn't have the same life. Yeah, if you
Speaker 1: go see these doors cover bands I've never done, that's interest. Well,
Speaker 1: it's it's it's intimidating filling Jim's leather pants. No, I mean,
Speaker 1: I mean, okay, so I did La Woman with the
Speaker 1: La Philharmonic and Chris Martin from cole Play. Yes, and
Speaker 1: he was He said to me, oh, man, how can
Speaker 1: I feel Jim's vocal cords? And I don't, don't try
Speaker 1: or whatever. Yeah, isn't that amazing that he you know,
Speaker 1: no vocal coaching, nothing, it never sung before us, never
Speaker 1: wrote a song before us. Yeah, I mean he had
Speaker 1: the most incredible vocal range and he was always on pitch. Yeah,
Speaker 1: never had to wait, never sharp or flat. Do you
Speaker 1: know what singers he liked? Like? Who would you say?
Speaker 1: He was inspired? Man? Like Delve Like Sinatra? That makes
Speaker 1: sense though, Like he sings more like Sinatra than most
Speaker 1: rock singers. You know, he really sang in that the
Speaker 1: crooner Yeah, the crooner style. Yeah. And you know like
Speaker 1: Willie Nelson has it too. Yeah, there's a sense of
Speaker 1: phrasing where you sense the singer is so relaxed and
Speaker 1: it's effortless, and it is Willie's obsessed with Frank as well. Sure,
Speaker 1: and it's so identifiable. You hear two bars of Willie
Speaker 1: or Merle or Jim and you go, that's them. It's
Speaker 1: nobody else. Now, what was Arthur's influences? Yeah, that's a
Speaker 1: good any ideas, I don't know. Well, he must have
Speaker 1: liked the birds because of the glasses things. Arthur was
Speaker 1: still here, Yeah, and Brian and Jim. Do you know
Speaker 1: anything about what their relationship was like? Uh? It was
Speaker 1: got more strange, yes, as time went on. I think, yeah,
Speaker 1: a songwriter competition kind of thing. Brian had the big hit,
Speaker 1: but Arthur had all this gorgeous deep stuff, and I
Speaker 1: think there was some jealousy. They were sure unique group.
Speaker 1: How the hell did they get together? I wonder how
Speaker 1: God knows? And they call themselves love incredible. Isn't that beautiful?
Speaker 1: Really a collectic group of people, you know, And it
Speaker 1: wasn't a stereotype then you know, the peace sign and
Speaker 1: love and it was before it was the real deal.
Speaker 1: You know, it was so ahead of the curve. The
Speaker 1: people are still catching up. Yeah, you know, like we
Speaker 1: were on the shoulders of the beat Nicks and then
Speaker 1: the punks are on the shoulders of the hippies and
Speaker 1: the Grunges on the shoulders of the punks. So I
Speaker 1: mean you could say love was a little bit punk,
Speaker 1: a little you know, you'd also makes sense when you
Speaker 1: say that you were on the shoulders of the beat
Speaker 1: Nicks and that both bands had poets. Yeah, that makes sense,
Speaker 1: like if we keep in mind that the Beatnick era
Speaker 1: was just sort of what was what had just been
Speaker 1: going on in the culture. Yeah, so you know, you
Speaker 1: sense a new wave and and I think Jim said
Speaker 1: each generation wants to be different from the one before.
Speaker 1: And so the punks came along and dissed us for
Speaker 1: burning out, and they were right, but the message was there,
Speaker 1: the love thing, you know, so I get pissed off
Speaker 1: one night. You know, people dissed the sixties is failing hold.
Speaker 1: Civil rights, peace movement, feminism are all seeds planted in
Speaker 1: the sixties. They're big seeds, so maybe they take hundreds
Speaker 1: of years for full fruition. So shut up and get
Speaker 1: out your watering can. And also the soap box. Clearly
Speaker 1: the world is a different place than it was before
Speaker 1: the sixties, Like, yeah, that was the turning point. You
Speaker 1: can you can say what you want about the sixties,
Speaker 1: not accomplishing all that it meant to do. Yet the
Speaker 1: world was transformed in the sixties. There's no question we
Speaker 1: live in a different culture that was all the seeds
Speaker 1: of the sixties, right, like a renaissance time like the
Speaker 1: twenties or what I would saying, as you'd think we
Speaker 1: would have learned. We need another sixties right now, So yeah,
Speaker 1: it may happen. Yeah, because music is the only thing
Speaker 1: that we all agree on. Yeah, I love so let's
Speaker 1: use it to try to patch this mess up. Huh.
Speaker 1: Going to pause for a quick break, but we'll be
Speaker 1: back with the doors. Robbie Krieger and John Densmore. We're
Speaker 1: back with Rick Rubens. Conversation with Robbie Krieger and John Densmore.
Speaker 1: What was the first gig that you did where you
Speaker 1: were in the band? Your first gig, first gig was
Speaker 1: that Hughes Aircraft. It was don't remember Ray's mom worked
Speaker 1: at Hughes Aircraft or his dad. So they needed a
Speaker 1: band for some Okay, you know, so well together and
Speaker 1: we we I can't remember the bass player, but he
Speaker 1: only had one string on his back. And then Ray
Speaker 1: was on acid and totally freaked out. He was on
Speaker 1: a bummer acid trip. I don't know how he even played.
Speaker 1: I don't remember the gig. You don't remember, no, you
Speaker 1: black remember? I remember the big warehouse. Yeah, yeah, well
Speaker 1: the gig was was pretty weird. We played some mingus
Speaker 1: I think, uh, and Jim tried to sing a couple
Speaker 1: of things he didn't. We didn't really have any songs
Speaker 1: worked up, you know, so Jim and I both took speed.
Speaker 1: I remember that, Oh my god, drug addict. Really the
Speaker 1: London fog was the first. No, no, no, remember the
Speaker 1: party were played at my parents, so there was party,
Speaker 1: but still that counts. Yeah, it's fun of people party
Speaker 1: at the Isaacson's house near UCLA, and we actually played
Speaker 1: a set and that was pretty good. Were you on
Speaker 1: that gig that gay house boat party out of Marina
Speaker 1: or someone pedrew? I think? And I know on the
Speaker 1: invitation it said, uh, please remember the band is not
Speaker 1: part of our group. Don't come onto the band and
Speaker 1: we're playing and uh, I remember we got the nerve
Speaker 1: to play a ballad and then everybody started kind of
Speaker 1: getting close and there was a lot of shuffling down
Speaker 1: below in the boat, and I remember Ray daring me
Speaker 1: to go downstairs. Early Doris gigs. Yeah, and then we
Speaker 1: played a gig for Moonfire. Remember what's Moonfire a gig? Yeah,
Speaker 1: we played a gig. He had a party down right
Speaker 1: near where you live, and the uplifters. Well, no, he
Speaker 1: was up to pag I know he was. But he
Speaker 1: rented this place right near your house. Moon Fire. Was
Speaker 1: this heir to something. Yeah, he had a lot of
Speaker 1: money and he had a huge place up into Panga
Speaker 1: and he let all the hippies stay there and hang
Speaker 1: out and stuff. And he was a militant vegetarian. And
Speaker 1: when we played Miami over right, he brought a lamb
Speaker 1: on stage, a little little cute little lamb lam and
Speaker 1: gave it to Jim. Gave it and Jim Jim said,
Speaker 1: he said, if it weren't so young, I fuck it. Oh.
Speaker 1: I was gonna say, don't say that, Robbie, but go
Speaker 1: he did, okay? Or did he really say that or
Speaker 1: was that just in the movie a joke? Yeah, it
Speaker 1: was a joke. It's not in the movie. He would
Speaker 1: say that. I think it is in the movie. I
Speaker 1: believe me he would really. Wasn't it in the movie.
Speaker 1: I don't think so. I've seen the movie and I
Speaker 1: don't remember that line. Well, it's a real quick line,
Speaker 1: and yeah, if you go check it out again, you
Speaker 1: hear it. A lot of it's entric folk around. What
Speaker 1: was the idea of bringing the lamb on stage? Was
Speaker 1: so cute? Don't eat meat? Yeah? Yeah, he was a vegetarian.
Speaker 1: Wait before vegetarian? Is it's cool? Yeah? It was kind
Speaker 1: of a cool guy. Anyway, We played a party for him,
Speaker 1: and that was pretty early. That was one of our
Speaker 1: first gigs. I remember having to drag my big standale
Speaker 1: amp up there. Yeah, we had a VW bus, we
Speaker 1: slept all the stuff, so we would just get gigs
Speaker 1: however we could get them, you know. I mean we
Speaker 1: used to go to all the clubs and beg them
Speaker 1: to let us play there. I remember, you know, Ray
Speaker 1: was with Dorothy and in the beach House and Jim
Speaker 1: and I maybe you tagged along. We'd go to these
Speaker 1: bars on Hollywood Boulevard that would never have a band anyway,
Speaker 1: and we'd go in there. Can we play? Would you?
Speaker 1: Could we? But we wanted to do something, even though
Speaker 1: it seemed fruitless, and it was a twenty four hour,
Speaker 1: seven day a week campaign. You know how it is
Speaker 1: to launch anything creative. Yes, whether it's a book or
Speaker 1: a movie or what, it's a herculean to sell the damna. Absolutely, absolutely,
Speaker 1: it's very hard to break through. We didn't even have
Speaker 1: a manager, I think, until my fire. Yeah, amazing, and
Speaker 1: it's been downhill ever since. It's also funny that in
Speaker 1: today's world we don't think of a band of the
Speaker 1: stature of the Doors playing at house party. It's just
Speaker 1: fascinating to imagine that world because now when young artists start,
Speaker 1: the mechanisms are in place for finding an audience and
Speaker 1: then finding gigs. There's like an industry around it now,
Speaker 1: whereas then it really was a clean slate. And I
Speaker 1: remember seeing old film of you guys playing where the
Speaker 1: sounds it seemed like the sound system wouldn't even fill
Speaker 1: the places you were, you know, tiny little samp for
Speaker 1: a vocal mic, you know. Yeah, it's always always hard
Speaker 1: to hear the vocals. Poor Jim, you know, he never
Speaker 1: had monitors testament to what a good singer he was.
Speaker 1: If he could sing like that without hearing himself, I
Speaker 1: guess they had him at the whiskey. But yeah, I
Speaker 1: mean I think that was good for building his Yeah,
Speaker 1: he'd have to something the Beatles talk about was that
Speaker 1: they would sing their harmonies, going from gig to gig
Speaker 1: in the van and practice singing, and they were so
Speaker 1: good at it that they didn't have to hear each other.
Speaker 1: They'd be able to sing in a harmony because they
Speaker 1: could never hear each other when they were performing, no kidding. Yeah, wow,
Speaker 1: And now we have any ear monitors. Different world, you know,
Speaker 1: I I changed my answer to the question. For years,
Speaker 1: people would say, well, if Jim was around now, would
Speaker 1: he be clean and sober? And I go, nah, kama
Speaker 1: kazi drunk. And now the last few years I've thought
Speaker 1: about Clapton and M and M and and it's a
Speaker 1: different time. Yeah. Sure, why if he was alive, he'd
Speaker 1: have to be sober. Yeah yeah, otherwise he wouldn't be alive.
Speaker 1: But so Yeah, I like saying that because it's different. Yeah. Well,
Speaker 1: unfortunately we don't get to have him around anymore. Would
Speaker 1: be great. Absolutely, we didn't know him and we miss them. Yeah.
Speaker 1: I mean, you know, you see the Stone still playing
Speaker 1: and stuff. I get really jealous when I see that.
Speaker 1: You know, how quickly did it change from being the
Speaker 1: house band to things getting big? For you guys? It
Speaker 1: was pretty quick. I mean it was you know, when
Speaker 1: light My Fire came into that was that was the
Speaker 1: whole game change. Because before that we put out break
Speaker 1: on Through as the first single and it didn't do
Speaker 1: very much. We called up a lot, this is Fred Schwartz,
Speaker 1: would you please play that break on and then they
Speaker 1: got on to us. All of our friends would be
Speaker 1: calling there, because that's how you got on the radio before.
Speaker 1: You know, you have to have an audience calling in.
Speaker 1: It's interesting how that song is so admired now. Yes,
Speaker 1: and then it was a struggle to get it out
Speaker 1: there because it was just so different. You know, I
Speaker 1: don't know what starts off with the Bossonova drums, so
Speaker 1: I mean, nobody's ever done that since Steven. I think
Speaker 1: Forever Changes might have a Bosonova on it. I think
Speaker 1: so yeah, yeah, yeah, but you know the way he
Speaker 1: played Bossonova, no rock drummers even today can do that. Also,
Speaker 1: I think that the fact that you had a classically
Speaker 1: trained pianist in the group really separated you from everyone else.
Speaker 1: It's true, it's a very one of a kind sound.
Speaker 1: I think the same holds true for maybe the Zombies.
Speaker 1: You know, I don't want not that I relate the
Speaker 1: zombies in the doors, but both of you don't sound
Speaker 1: like anyone else, mainly because of the keyboards. I'm such
Speaker 1: a featured instrument because like the Rolling Stones usually had
Speaker 1: someone playing piano in the group more often than not,
Speaker 1: but it wasn't as much of a focus. It was
Speaker 1: more of a support instrument. Yes, they had that as well.
Speaker 1: And then the raised genius of these licks d D WHOA,
Speaker 1: that's itched on all our brains. Yeah, and it sounds
Speaker 1: like what are you just saying? That sounds like bach?
Speaker 1: It is? It isn't. Yeah, I had the chords, these
Speaker 1: these kind of weird chords, and he just naturally just
Speaker 1: came up with the with the box to go over it. Yeah, yeah,
Speaker 1: it is. That was pretty pretty amazing really, And you know,
Speaker 1: Riders in the Storm do you listen to that solo?
Speaker 1: It's genius. You know. I've had so many keyboard players
Speaker 1: that play with me to play Ray stuff, and a
Speaker 1: lot of them know it like my fire and writers
Speaker 1: note for note, and but it still never quite sounds
Speaker 1: like Ray. You know. It's the feel. Yeah, But the
Speaker 1: funny thing is Ray never played those solos alike the
Speaker 1: same every night. It was just an improve there was
Speaker 1: an improvisation, Yeah, it was you know when we recorded
Speaker 1: that stuff, it was one take and that's just how
Speaker 1: it was that night. So in addition to the solos
Speaker 1: being different, how free were the arrangements like might a
Speaker 1: song go longer live or dependent on the song? The
Speaker 1: epics and when the music's over. They had big sections
Speaker 1: where we'd vamp and they would be different every night,
Speaker 1: and the length would go fuck around with any poem
Speaker 1: he wanted to, you know, see we'd chase him around.
Speaker 1: I mean those kind of songs that they would grow
Speaker 1: every night, you know, because it started off real short,
Speaker 1: like the end was just a two minute love song
Speaker 1: when it started, and then as time went on it
Speaker 1: got longer and longer. And but you know, Robbie and
Speaker 1: I went to Robbie Shankar's Kanara School of Indian Music
Speaker 1: and got heavily influenced by that. So the end got
Speaker 1: this droning. This was even that back then you did this,
Speaker 1: yeah amazing. Yeah, So that's where that raga had influence came.
Speaker 1: I actually had a sitar that a traditional city and
Speaker 1: John had the tambo drums. Wow, And we actually went
Speaker 1: to the school that Canara School that Robbie Shankar started. Yeah. Actually,
Speaker 1: Robbie came and gave a lecture to us one time, amazing,
Speaker 1: and we're in our twenties and he says, you should
Speaker 1: channel your sexual energy into playing your instrument. What. Yeah,
Speaker 1: And later I found out that he really didn't keep
Speaker 1: to that well very well, and so there was enough
Speaker 1: left over after putting it in the music we can
Speaker 1: still use. I'll RockA too. He was the ladies. Well
Speaker 1: he liked the whiskey too. Oh yeah, yeah, amazing. So
Speaker 1: you're saying he was a human being yea, yeah, yeah,
Speaker 1: kind of like MYHRESHI right, he liked Some of your
Speaker 1: band members met each other at TM is that? Yeah,
Speaker 1: that's true. That's where we met. Tell me the story.
Speaker 1: Robbie and I are fooling around with legal psychedelics and
Speaker 1: and then Robbie says, there's this Indian sage coming to town.
Speaker 1: And I'm thinking, yeah, well, meditation might be a little
Speaker 1: less shattering on the nervous system. And this is before
Speaker 1: the Beatles a year or two, I don't know got
Speaker 1: onto Mahureshi. Yeah, because we were doing it pretty much
Speaker 1: every weekend, and uh, and we were doing I was turning, yes,
Speaker 1: I was turning all my friends onto it. And so
Speaker 1: in this one guy had a bad reaction many you know, yeah,
Speaker 1: well did you douse him or yeah? I think I
Speaker 1: gave him a little speed with it or something extra
Speaker 1: to boost it. But anyway, he had a bad reaction,
Speaker 1: and I felt horrible, you know, and so I said, shit,
Speaker 1: there's got to be a better way to do this,
Speaker 1: you know. So my buddy, who had been to India
Speaker 1: met Mahishi and talked him into coming back here, Peter Wallace,
Speaker 1: and so his brother and I were buddies, Keith. So
Speaker 1: the first Mahishi meeting was at his house, and that's
Speaker 1: where Ray and John Ray happened to be there, all right,
Speaker 1: and John, John and I knew each other already. But
Speaker 1: so Ray came up to me and said, I hear
Speaker 1: you're a drummer. You want to be in a band,
Speaker 1: and I will I'm a professional. I don't know, I'll
Speaker 1: come down and jam and uh. Then, as I said later,
Speaker 1: Ray's brothers dropped out, Robbie came in. Was Jim already
Speaker 1: in the band? All yeah? I mean, you know, he
Speaker 1: stood in the corner with his back to us, so
Speaker 1: shy he couldn't. It was like, and we say, already
Speaker 1: in the band it means you know. Was actually it
Speaker 1: was Rick and the Ravens was the band, and this
Speaker 1: Ray's Brothers band at that point. And Jim used to
Speaker 1: sing Louie Louie once in a while, right, And then
Speaker 1: they started and then Jim came up with these couple
Speaker 1: of songs it's the words, and said he wants to
Speaker 1: call at the doors. And then that's when John I
Speaker 1: met and I met Ray, so I thought, Okay, he's
Speaker 1: not the next Mick Jagger. But these words, man, I
Speaker 1: want a drum to these words. They're so wild. We'll
Speaker 1: be right back with more from Robbie Krieger and John Densmore.
Speaker 1: After a quick break, we're back with the rest of
Speaker 1: Rick's conversation with the Doors. Robbie Krieger and John Densmore.
Speaker 1: Anything more about love, that's a little more to talk about,
Speaker 1: not the doors, right. Oh yeah, we got all the way.
Speaker 1: We think you can go wherever you're comfortable going. This
Speaker 1: final we got self centered. Well anyway, like I said,
Speaker 1: I kind of met Brian earlier on and I used
Speaker 1: to see him play and stuff, and he looked kind
Speaker 1: of like Brian Jones, you know, had that nice hair
Speaker 1: due and stuff. So I decided I wanted my hair
Speaker 1: to look like that, and so I get this hair straightener,
Speaker 1: you know, because I had I had the real afro
Speaker 1: hair and back now so Man, Billy Wolf, we both
Speaker 1: had the afron kind of hair, Jewish kink and yeah,
Speaker 1: we got this stuff. I figure what it was called.
Speaker 1: But it really worked on me. Man, I looked like
Speaker 1: fucking Brian. You know. Even Wolf said, hey, Man, you
Speaker 1: look like that jerk Brian. Uh, my client. And so
Speaker 1: that's right before I met the Doors, before I tried
Speaker 1: out for the Doors. So I had the good hair, man,
Speaker 1: I think that's why I got the job. And then
Speaker 1: a couple of months later when it grew back out,
Speaker 1: and I remember Jim going, what happened to your hair?
Speaker 1: But by that time they needed me. Why did Why
Speaker 1: did your friend refer to him as a jerk? Brian? Oh,
Speaker 1: it was just a friend, Leaf saying he was a
Speaker 1: competitive guitar player. Yeah. Yeah, we were jealous of him
Speaker 1: because he he was in a big group. You know.
Speaker 1: It's interesting long hair during that time, on the both coasts,
Speaker 1: there were long hairs but in the middle of the country.
Speaker 1: And one time after a New York gig, Ray and
Speaker 1: I and his girlfriend Dorothy drove across the country because
Speaker 1: we had no money, and so we got a car
Speaker 1: we could deliver as long as we paid the gas.
Speaker 1: And we stopped at a diner in Ohio. Ray and
Speaker 1: I had long hair and Dorothy's Japanese. We go in
Speaker 1: and holy shit, there's these guys at the counter with
Speaker 1: red paint on the back of their necks and they're
Speaker 1: scowling at us, and it was scary. I mean, even
Speaker 1: in La at that time, we were like the only
Speaker 1: long hairs around pretty much. I mean, I remember one
Speaker 1: time me and Jim went to eat at Ships. I
Speaker 1: think it was remember Ships, Yeah, I think you were
Speaker 1: there coffee shop in Westwood. Yeah, And we we started,
Speaker 1: you know, sat down ordering stuff and there was some
Speaker 1: marines next to us, and they started giving us ship
Speaker 1: all right, and so we kind of got started giving
Speaker 1: them ship back and were you there? And so finally
Speaker 1: we started to leave and they came out and grabbed
Speaker 1: us and the one guy was meant beating Jim with
Speaker 1: a whoa the pay phone, you know, and Jim, Jim
Speaker 1: was just laughing, he goes call the cops. Ha ha ha.
Speaker 1: You know he didn't mind being beat up. Remember I
Speaker 1: wasn't there, but it's reminded me of these these guys
Speaker 1: in Ohio were like saying to the waitress, Shureley, you
Speaker 1: got a scissors. Some of these girls need a hair. Yeah.
Speaker 1: I remember quite a few times that uppen And it's
Speaker 1: interesting now you know, then the punks I'm along to
Speaker 1: shave their heads and so now whatever anything's cool, I
Speaker 1: like it. There's a liberation. I bet either are still
Speaker 1: places you could find in the United States where you
Speaker 1: could go and not feel welcome. I'd say it's a
Speaker 1: big country. It's a big country. There's still plenty of place.
Speaker 1: So would you say that spirituality played a role in
Speaker 1: the doors definitely, Yeah, definitely wasn't talked about as much
Speaker 1: as Jim tried to squash. Well. I think he was
Speaker 1: a searcher. Yeah, we were meditating. He was trying to
Speaker 1: find out what was inside in his own way. You know,
Speaker 1: it's all different versions of we could call it self
Speaker 1: medicating in the case that TM it turns out to
Speaker 1: be healthier for you than let's say alcohol. Yeah, but
Speaker 1: it's definitely dealing with our inner self, trying to find something,
Speaker 1: something more? What else is there? You know? So did
Speaker 1: you guys practice TM? Oh yeah, I still do. We
Speaker 1: did TM. We did TM for like the whole career.
Speaker 1: Twice a day. We go, okay, we're going in the
Speaker 1: vocal booth for twenty minutes. Do what you guys got
Speaker 1: to do, and Robbie and I'd go meditate. Yeah, maybe
Speaker 1: that's what grounded us through that crazy so amazing, I'd say, amazing.
Speaker 1: And we actually took Jim to meet Maharishi one time. Wow,
Speaker 1: how's that didn't turn out? That one? Okay? What happened? Him?
Speaker 1: Didn't sign up? But I do remember him saying he
Speaker 1: wanted to look in his eyes and see if he
Speaker 1: had any knowledge, and he said he did, but he's
Speaker 1: not going to meditate. Yeah okay, Yeah. By that time
Speaker 1: it was bigger. The Beatles had started doing it. And
Speaker 1: after the lecture and we brought Jim up to real
Speaker 1: close to Maisie and tried to introduce him. I do remember,
Speaker 1: you know, I was raised Catholic. I'm now a renegade,
Speaker 1: of course, but I remember first time being in Mahaishi's
Speaker 1: presence and feeling a love vibe like I did not
Speaker 1: get this from those priests and the black tourniquets. Wow,
Speaker 1: I want this. Yeah, you know, I never got to
Speaker 1: meet Mahaishi. I learned TM when I was fourteen, and
Speaker 1: like you guys, it has I realized that it had
Speaker 1: a big impact on my life. Yeah, I noticed how
Speaker 1: you're sitting, no question, no question. I include that as
Speaker 1: part of who I am. You know, I don't think
Speaker 1: I would be the same person without that. I think
Speaker 1: of Maharishi as kind of jump starting this whole thing.
Speaker 1: Indian music, Robbie Shankar, the whole culture, Hindu culture at all,
Speaker 1: got a big push from him, really and is still
Speaker 1: here absolutely in various forms, and what a gift. Yeah.
Speaker 1: You know what's interesting is in the sixties there was
Speaker 1: no Internet, and wow, the Beatles happened to be experimenting
Speaker 1: with psychedelics like we were. The Beatles happened at our
Speaker 1: musicians over there all kind of got into meditation like
Speaker 1: we were. What's going on here? Carl Jung's archetypal undercurrents
Speaker 1: across the globe to get cosmic. But yeah, something going on,
Speaker 1: you know. Yeah, And it wasn't people imitating each other.
Speaker 1: It was just it was blossoming in the culture. The
Speaker 1: Beatles did imitate us. We were meditating before they were. Yeah, right,
Speaker 1: so we get technical amount it. And you were taking
Speaker 1: acid before them too. Probably. Actually, when I was in college,
Speaker 1: I had real Sando acid. Yeah, that was the stuff
Speaker 1: they Who was the guy that was doing those? Leary Albert?
Speaker 1: Who's later round us? Right, who's the guy who made it?
Speaker 1: The guy in San Francis. So Alsley comes to one
Speaker 1: of our gigs and he comes backstage and he says,
Speaker 1: you guys need a bass player. Man, there's a hole
Speaker 1: in your sound, you know. And he leaves and I
Speaker 1: said to Ray, Wow, we're making the King of Acid nervous.
Speaker 1: I think we're on the right track. Yeah, how did
Speaker 1: it work out that you decided not to have a
Speaker 1: bass player? It's interesting. We tried. We had a girl
Speaker 1: bass player for a minute. We sounded like the Stones,
Speaker 1: some white blues man or something. We tried a few
Speaker 1: bass players, and we always had a bass pretty much
Speaker 1: on the records. Yeah, well that was to make up
Speaker 1: for there was no mood synthesizers. So raised keyboard. Ray
Speaker 1: found this keyboard bass and then we, ah, that's it.
Speaker 1: We don't need a basic business but recording it worked
Speaker 1: on some songs like break on Through that's just like
Speaker 1: yboard in the end, and control of other ones, but
Speaker 1: other ones that needed that plucking from a string with
Speaker 1: various bass players over dubbed raised lines and actually on
Speaker 1: Backdoorman and Soul Kitchen was me overdooming the bass. Oh,
Speaker 1: there was again a rumor that John Sebastian played bass
Speaker 1: on one of your albums, Play Atlantic Harmonica on Roadhouse.
Speaker 1: Really okay, so you'll notice that John Sebastian, the hard
Speaker 1: player credited on Roadhouse is ge Pool Yayzy, which was
Speaker 1: a synonym for John Sebastian. Then that was his real name.
Speaker 1: What is his real name? That's his real name, Giovanni
Speaker 1: Pool Glacie is his real name? Really? Yeah, I think
Speaker 1: that would sound good as right, I thought he but
Speaker 1: I had heard that he didn't want to be associated
Speaker 1: with the Doors. It was his record company didn't want
Speaker 1: his attempt to use his name, right, But also the Doors,
Speaker 1: you know, I mean, there's this wonderful flower power thing
Speaker 1: with the birds and all the mamas and papa's in it.
Speaker 1: We loved it, but we were the underbelly the undeclared
Speaker 1: Vietnam War, the shadows, and people did not like us.
Speaker 1: Some they it made them nervous to be associated with
Speaker 1: us because we were dark. I don't think that was it.
Speaker 1: Well good, I'm glad we disagree now. I heard just
Speaker 1: a little earlier from a moderator that tension create is creativity.
Speaker 1: How fuck you? Well, fuck you? So good? Okay, so
Speaker 1: I see the TM's been working. Okay. Was it when
Speaker 1: you got to play at the Hollywood Bowl? Did that
Speaker 1: feel like a big deal at the time? Oh? Yeah, yeah,
Speaker 1: sure sure. Did anythink we were one of the first
Speaker 1: Did the Beatles play there? Yeah? I think the only
Speaker 1: the Beatles had played? But of course, you know, they
Speaker 1: made us have a decibel limit in that ruin. Yeah,
Speaker 1: and we had. That was the first time that we
Speaker 1: actually brought real cameras and movie cameras and stuff to
Speaker 1: film the show. So it looks real good. But uh,
Speaker 1: and Jim took acid and didn't tell us. Yeah, great,
Speaker 1: well why would he tell us? And it was fine,
Speaker 1: but there was something just wasn't a good show. I
Speaker 1: remember saying to you coming off stage, Robbie, what what?
Speaker 1: And he you said, he took assid just so he
Speaker 1: got and sometimes when he asked he was great, but
Speaker 1: at this time he got real introverted and he kind
Speaker 1: of just didn't move around. He saw a moth on
Speaker 1: the astro turf and picked it up and was examining it.
Speaker 1: And then it didn't help that his girlfriend Pam was
Speaker 1: sitting with Mick Jagger right in the front row, right
Speaker 1: because Jagger went out to dinner with us before and
Speaker 1: we wanted to be really good for him, and damn it,
Speaker 1: I mean, it's good. What did he What did he say?
Speaker 1: Somebody asked him about that. He said it was in
Speaker 1: Melody Maker. The doors are nice, chaps, but they went
Speaker 1: on a bit long. But I mean, it looks great,
Speaker 1: it looks good. Who was the last show you guys
Speaker 1: did New Orleans? I was trying to forget about. That
Speaker 1: was a bad one. Yeah. The night before was Dallas
Speaker 1: and we were trying out Riders Live Riders on the
Speaker 1: Storm and we were kind of wow, maybe we could
Speaker 1: kind of be a jazz rock thing. Maybe we got
Speaker 1: it's going to be different. And the next night Jim
Speaker 1: was drunk too drunk, Yeah, sat on the on the
Speaker 1: drum riser in the middle, just his head down the
Speaker 1: middle of the show, I walk around and sit next
Speaker 1: to him. Hey, man, what do you want to play next? Hello?
Speaker 1: And isn't that when Ray said he saw jim soul
Speaker 1: leave his body or something like Race said he saw
Speaker 1: his spirit exit? Ah, it was the last show we attempted. Yeah,
Speaker 1: I was lobbying for a year to get off the
Speaker 1: road because in the studio, if he's too messed up,
Speaker 1: we go home. But in front of ten thousand people,
Speaker 1: and we were really good live in the beginning, just
Speaker 1: pin dropped home. You think do you think success played
Speaker 1: a role in his destruction self destruction? Some probably, it's
Speaker 1: not just that. I think it would have happened anyway,
Speaker 1: you do. Yeah, here's a line someone said to me,
Speaker 1: blew my mind. Maybe if Jim hadn't met you guys,
Speaker 1: he would have died sooner. Interesting who interesting? Thought? Yeah? Yeah,
Speaker 1: because at least he had something to do he channeled. Yeah,
Speaker 1: I mean he lived to be on stage. Yeah, he
Speaker 1: enjoyed performing. Oh yeah's interesting. I wouldn't I wouldn't have
Speaker 1: known that if you didn't say it. No, we're kidding.
Speaker 1: Wouldn't have known that well, because he seemed so scary
Speaker 1: and serious and dark and weird, but he knew. When
Speaker 1: you're performing, you can feel if the audience is a
Speaker 1: Madison Square garden or a club, that's one person and
Speaker 1: the performer is a duet or an orchestra, that's the
Speaker 1: other person, and the two of you are going to
Speaker 1: dance tonight, and the mystery and excitement is what is
Speaker 1: it going to be? A waltz, a salsa, a riot?
Speaker 1: You know, And that's what's so kinetic about Energetically you
Speaker 1: feel that interaction. Yeah, and maybe that's why bands like
Speaker 1: your band, bands like Love, bands like The Grateful Dead
Speaker 1: for that matter. There Today there seems to be more
Speaker 1: and more artists who just are putting on a show
Speaker 1: and people are watching this thing, but there's very little interaction,
Speaker 1: you know, like the show is the same every night. Yeah,
Speaker 1: Whereas you guys would change according to what you were
Speaker 1: feeling that some song, like some songs would have long
Speaker 1: parts that got longer if it felt good that night.
Speaker 1: It wasn't so scripted. Yeah, But you guys also were
Speaker 1: influenced by jazz, and it wouldn't be unusual to have
Speaker 1: a long song in jazz, so bringing that bringing that
Speaker 1: jazz sensibility into popular music super cool and Robbie Genkar,
Speaker 1: I mean, yeah, we sat next to the man and
Speaker 1: ragas are fifteen minutes. Yes, and Robbie, Robbie was like,
Speaker 1: you know, yeah, you in America want a climax too soon,
Speaker 1: you know, take your time with the four play metaphorical. Yes.
Speaker 1: And we were steeped in that. Yes. When I first
Speaker 1: met Ray, he played me Robbie Shankar's theme from Panther
Speaker 1: Panchali and it had jazz guys on jazz and raga.
Speaker 1: It's like, wow, let's soak up this amazing. Yeah, cool,
Speaker 1: what a pleasure. Thank you and talking about this guy. Yeah.
Speaker 1: Thanks to Robbie Krieger and John Densmore for sharing so
Speaker 1: many incredible stories about Jim Morrison and the Doors. You
Speaker 1: can hear all of our favorite Doors songs on my
Speaker 1: playlist at broken record podcast dot com. Be sure to
Speaker 1: subscribe to our YouTube channel at YouTube dot com slash
Speaker 1: Broken Record Podcast, where you can find all of our
Speaker 1: new episodes. You can follow us on Twitter at broken Record.
Speaker 1: Broken Record is produced help from Lea Rose, Jason Gambrel, Vantaliday,
Speaker 1: Eric Sandler, and Jennifer Sanchez, with engineering help from Nick
Speaker 1: Chaffey Our executive producer is Mia Lobell. Broken Record is
Speaker 1: a production of Pushkin Industries. If you like this show
Speaker 1: and others from Pushkin, consider subscribing to Pushkin Plus. Pushkin
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Speaker 1: Kenny Beats. I'm Justin Richard.