1 00:00:00,080 --> 00:00:09,680 Speaker 1: Too Much Information is a production of iHeartRadio. Hello everyone, 2 00:00:09,720 --> 00:00:12,240 Speaker 1: and welcome to Too Much Information, the show that brings 3 00:00:12,280 --> 00:00:14,800 Speaker 1: you the little known facts and secret histories behind your 4 00:00:14,800 --> 00:00:18,400 Speaker 1: favorite movies, music, TV shows and more. We are your 5 00:00:18,520 --> 00:00:21,960 Speaker 1: backdoor men of banality, your leather clad lizard kings of 6 00:00:22,040 --> 00:00:25,560 Speaker 1: kind of cool stories, your Oedipus Rexes of rock. My 7 00:00:25,680 --> 00:00:29,360 Speaker 1: name is Jordan run Togg and I'm Alex Heigel ed. 8 00:00:29,520 --> 00:00:33,920 Speaker 1: Today we are talking about The Doors, specifically their self 9 00:00:33,920 --> 00:00:36,240 Speaker 1: titled first album, which is one of the all time 10 00:00:36,280 --> 00:00:40,120 Speaker 1: great debuts in rock history. Oh yeah, boasting deathless classic 11 00:00:40,200 --> 00:00:43,159 Speaker 1: rock radio staples like break On Through the End and 12 00:00:43,240 --> 00:00:47,199 Speaker 1: of course Light My Fire. No real reason to talk 13 00:00:47,240 --> 00:00:49,760 Speaker 1: about this album today. I just love it. And one 14 00:00:49,760 --> 00:00:51,360 Speaker 1: of the things that I love about it is how 15 00:00:51,400 --> 00:00:54,480 Speaker 1: truly weird it is. I wrote an article about it 16 00:00:54,520 --> 00:00:57,240 Speaker 1: for Rolling Stone for his fiftieth anniversary a few years ago, 17 00:00:57,320 --> 00:00:59,800 Speaker 1: and this line from my intro kind of sums it 18 00:00:59,880 --> 00:01:02,280 Speaker 1: up for me. If you wanted to craft the perfect 19 00:01:02,360 --> 00:01:04,839 Speaker 1: rock debut, the most obvious route wouldn't be to meld 20 00:01:04,880 --> 00:01:08,840 Speaker 1: Bavarian Oopbah with Willie Dixon, Chicago blues back minuettes with 21 00:01:08,920 --> 00:01:13,200 Speaker 1: John Coltrane, charts twelfth century Celtic myths with ancient Greek tragedy, 22 00:01:13,600 --> 00:01:16,240 Speaker 1: topped off with plenty of existential angst and a healthy 23 00:01:16,280 --> 00:01:19,520 Speaker 1: dose of psychedelics. That's about right. He's lightning in a 24 00:01:19,520 --> 00:01:22,680 Speaker 1: bottle baby, you know, yes it was, and a lot 25 00:01:22,680 --> 00:01:25,199 Speaker 1: of that was thanks to the appeal of the man, 26 00:01:25,880 --> 00:01:30,600 Speaker 1: the myth, the legends, the himbo to end all Himbo's 27 00:01:30,959 --> 00:01:32,520 Speaker 1: mister James Douglas Morrison. 28 00:01:33,040 --> 00:01:36,120 Speaker 2: Yeah, I felt like, I feel like you're trying to 29 00:01:36,160 --> 00:01:36,640 Speaker 2: bait me. 30 00:01:38,080 --> 00:01:38,960 Speaker 1: A bit, a bit. 31 00:01:39,720 --> 00:01:42,800 Speaker 2: I don't know, man, I mean, Morrison is like you 32 00:01:42,840 --> 00:01:45,040 Speaker 2: know my I mean, my dad liked the Doors because 33 00:01:45,080 --> 00:01:46,119 Speaker 2: of ray Man's eric. 34 00:01:46,280 --> 00:01:48,640 Speaker 1: Uh and he is my favorite door. 35 00:01:48,720 --> 00:01:50,840 Speaker 2: Well that's why I like the doors. Ray Man's are incredible. 36 00:01:50,880 --> 00:01:53,200 Speaker 2: Like the guy like went and you know when the 37 00:01:53,240 --> 00:01:55,960 Speaker 2: Doors broke up, he was like, I'll produce X and 38 00:01:56,040 --> 00:01:58,800 Speaker 2: like play keyboards for iggy pop and just do all 39 00:01:58,840 --> 00:02:02,440 Speaker 2: this really cool nivorous. So he's like clearly the best door. 40 00:02:02,600 --> 00:02:06,400 Speaker 2: But yeah, so like I grew up listening to the 41 00:02:06,440 --> 00:02:11,640 Speaker 2: Doors and was a product of the boomer industrial complex 42 00:02:11,880 --> 00:02:16,960 Speaker 2: that like, yeah, this just forced all this and like, yeah, man, 43 00:02:17,680 --> 00:02:21,840 Speaker 2: Jim's real cool. When you're like thirteen. Yeah, he's a 44 00:02:21,960 --> 00:02:26,440 Speaker 2: Charles Bokowski, you know, he's exactly like Thompson. Yeah, just 45 00:02:26,560 --> 00:02:30,960 Speaker 2: one of those guys that like, if you don't escape containment, 46 00:02:31,360 --> 00:02:35,160 Speaker 2: you become such a piece of like becomes such a 47 00:02:35,240 --> 00:02:39,480 Speaker 2: toxic loser if you like don't hit that point where 48 00:02:39,480 --> 00:02:42,280 Speaker 2: you're like, looking back on it, I was incorrect. This 49 00:02:42,360 --> 00:02:47,560 Speaker 2: man is adult, but like people don't. There's still people 50 00:02:47,600 --> 00:02:50,440 Speaker 2: out there who are like once in a lifetime sham 51 00:02:50,440 --> 00:02:53,200 Speaker 2: and like peace and love man spreading enlightenment. And it's 52 00:02:53,240 --> 00:02:57,440 Speaker 2: like was he though, like really honestly was he? 53 00:02:58,000 --> 00:02:58,400 Speaker 1: I don't know. 54 00:02:58,480 --> 00:03:00,000 Speaker 2: And it's like it's again, it's one of those things 55 00:03:00,080 --> 00:03:02,480 Speaker 2: where it's like, well, reseparating the art from the artist 56 00:03:03,200 --> 00:03:06,200 Speaker 2: because we knew he was a drunken buffoon, but like 57 00:03:06,600 --> 00:03:09,960 Speaker 2: he has a tremendous voice and like really one of 58 00:03:10,000 --> 00:03:16,239 Speaker 2: the coolest iconography's and stage presences for you know, about 59 00:03:16,360 --> 00:03:20,639 Speaker 2: three years before you got fat and started whipping it out. 60 00:03:23,520 --> 00:03:26,080 Speaker 2: But yeah, man, I mean it's he really, It's it's like, 61 00:03:26,360 --> 00:03:28,600 Speaker 2: you know, you don't want to lionize the guy, or 62 00:03:28,639 --> 00:03:30,680 Speaker 2: you don't want to pillory the guy for having like 63 00:03:30,720 --> 00:03:34,640 Speaker 2: a thousand useless bastard sons that followed in his in 64 00:03:34,680 --> 00:03:35,560 Speaker 2: his footsteps. 65 00:03:35,640 --> 00:03:36,960 Speaker 1: But at the same time. 66 00:03:37,040 --> 00:03:39,200 Speaker 2: I think you can be mad at the mold maker 67 00:03:39,400 --> 00:03:44,280 Speaker 2: for what is made out of their mold, Like If, Jerey, 68 00:03:44,400 --> 00:03:46,320 Speaker 2: If and and you know are all the people that 69 00:03:46,440 --> 00:03:48,000 Speaker 2: enabled him. And at the end of the day, he 70 00:03:48,080 --> 00:03:50,720 Speaker 2: was just like a super handsome guy with a pretty 71 00:03:51,080 --> 00:03:55,000 Speaker 2: great voice and like great stage presence and what about 72 00:03:55,000 --> 00:03:59,000 Speaker 2: the poetry, Yeah, well absolute dog dog. But like I 73 00:03:59,040 --> 00:04:02,560 Speaker 2: was just a Penshant for self mythologizing and like that 74 00:04:03,040 --> 00:04:06,680 Speaker 2: converged in such a spectacular way in him. And also 75 00:04:06,840 --> 00:04:10,320 Speaker 2: just in the sixties, Like again I don't think you 76 00:04:10,440 --> 00:04:12,360 Speaker 2: have I mean the guys in the the guys who 77 00:04:12,400 --> 00:04:16,320 Speaker 2: came after him, like Ian Astbury for the cult, like 78 00:04:17,279 --> 00:04:20,080 Speaker 2: any goth singer who started singing down in that register 79 00:04:20,279 --> 00:04:24,040 Speaker 2: and like croon yelling, were like all guys who when 80 00:04:24,040 --> 00:04:25,960 Speaker 2: people saw them, they were like, they're doing Jim Morrison, 81 00:04:26,160 --> 00:04:29,320 Speaker 2: you know. So it's hard to say whether he would 82 00:04:29,320 --> 00:04:31,560 Speaker 2: have had success in a different era or in a 83 00:04:31,560 --> 00:04:35,200 Speaker 2: different setting because he he does not exist in the 84 00:04:35,240 --> 00:04:38,479 Speaker 2: context of all which came before him. He exists in 85 00:04:38,480 --> 00:04:42,760 Speaker 2: the internal presence of those stupid black and white photos 86 00:04:43,000 --> 00:04:47,800 Speaker 2: pouting sensually at the camera and like yelling his way 87 00:04:47,800 --> 00:04:50,960 Speaker 2: through this debut record that slaps And if you're one 88 00:04:50,960 --> 00:04:53,120 Speaker 2: of those people who are compelled to read about the 89 00:04:53,200 --> 00:04:57,480 Speaker 2: artist or find out more about the artist, it's dismal. 90 00:04:59,120 --> 00:05:01,719 Speaker 1: Because he's like kind of a guy who peaked. He's 91 00:05:01,760 --> 00:05:04,680 Speaker 1: like the guy who peaked in high school. Man, oh wow, 92 00:05:05,240 --> 00:05:05,800 Speaker 1: high school. 93 00:05:06,400 --> 00:05:09,160 Speaker 2: His high school was like nineteen sixty seven to like 94 00:05:09,480 --> 00:05:13,839 Speaker 2: mid nineteen sixty nine, you know, and then everything else 95 00:05:14,000 --> 00:05:16,479 Speaker 2: was just like, well, I'm fat and sad now, and 96 00:05:16,520 --> 00:05:18,120 Speaker 2: then I'll die in the bath, like. 97 00:05:19,800 --> 00:05:25,320 Speaker 1: You know, by the grace of God. Goal. Yeah, Like truly, 98 00:05:26,520 --> 00:05:30,320 Speaker 1: you were describing kind of the the process of being 99 00:05:30,400 --> 00:05:32,640 Speaker 1: a Doors fan. I feel like getting into the Doors 100 00:05:32,720 --> 00:05:35,240 Speaker 1: is such a rite of passage as a young music fan. 101 00:05:35,279 --> 00:05:38,479 Speaker 1: I mean, they are the pre eminent teenage band. It's 102 00:05:38,640 --> 00:05:40,640 Speaker 1: I think it was a description of Donnie Darko from 103 00:05:40,680 --> 00:05:43,200 Speaker 1: our Donnie Darko episode where somebody called the movie your 104 00:05:43,240 --> 00:05:45,960 Speaker 1: first deep thought, and that's kind of how I It 105 00:05:46,080 --> 00:05:48,400 Speaker 1: sort of sums up my feelings on the Doors. Yeah, 106 00:05:48,440 --> 00:05:51,040 Speaker 1: and you know, members of the Doors camp support this. 107 00:05:51,160 --> 00:05:54,479 Speaker 1: There's their manager, Bill Siddons is quoted as saying in 108 00:05:54,520 --> 00:05:58,360 Speaker 1: the classic Albums documentary. This band wasn't about flower power 109 00:05:58,400 --> 00:06:02,400 Speaker 1: but personal power. It's about who can you be? And 110 00:06:02,440 --> 00:06:05,160 Speaker 1: I feel like that's a very important sentiment at a 111 00:06:05,160 --> 00:06:09,880 Speaker 1: certain crucial age. Making a stink face, Yes, you are 112 00:06:10,520 --> 00:06:13,680 Speaker 1: always so much. This is just drenched in that sixties shit. 113 00:06:13,760 --> 00:06:16,120 Speaker 1: I hate, dude, I'm sorry. 114 00:06:16,240 --> 00:06:18,320 Speaker 2: You know, one of the guys I like most about 115 00:06:18,960 --> 00:06:22,400 Speaker 2: researching this is Paul Rothchild, the producer of their records, 116 00:06:22,440 --> 00:06:26,839 Speaker 2: because he was absolutely not buying into Morrison's bullshit, and 117 00:06:26,920 --> 00:06:29,560 Speaker 2: he has my favorite take on Morrison and that you know, 118 00:06:30,160 --> 00:06:32,880 Speaker 2: this is a guy who spent hours putting up with Morrison's. 119 00:06:33,760 --> 00:06:36,440 Speaker 2: When he was sober, he was the nicest, brightest, most 120 00:06:36,520 --> 00:06:40,919 Speaker 2: articulate human being. I knew he was well read, perceptive, sensitive. 121 00:06:41,440 --> 00:06:43,880 Speaker 2: Give him three drinks and he was a monster. It 122 00:06:43,960 --> 00:06:47,080 Speaker 2: was like Jekyl and Hyde. He was the worst ninety 123 00:06:47,120 --> 00:06:49,159 Speaker 2: percent of the time when he was drunk, he was 124 00:06:49,160 --> 00:06:52,560 Speaker 2: impossible to deal with. The other ten percent he transcended 125 00:06:52,680 --> 00:06:56,120 Speaker 2: himself and was brilliant. And that's kind of like, you know, 126 00:06:56,200 --> 00:06:59,000 Speaker 2: people talk about him in this like Dionissa and archetype 127 00:06:59,000 --> 00:07:02,719 Speaker 2: of like, you know, this guy who like the path 128 00:07:02,880 --> 00:07:06,719 Speaker 2: was William Blake, the pathonology is paved, is paved. 129 00:07:06,400 --> 00:07:09,680 Speaker 1: With the excess leads to the Palace of wisdom. 130 00:07:09,760 --> 00:07:12,720 Speaker 2: Yeah whatever, whatever that horses is that people use an 131 00:07:12,720 --> 00:07:17,560 Speaker 2: excuse to drink like blats and say slurs like I'm sorry. 132 00:07:17,800 --> 00:07:21,320 Speaker 2: Alcohol is not a transcendent drug. It is an isolating 133 00:07:21,640 --> 00:07:25,480 Speaker 2: and I mean three beers and Thin Lizzie with the 134 00:07:25,520 --> 00:07:30,520 Speaker 2: Boys is a transcendent alcohol experience. But like pounding your 135 00:07:30,600 --> 00:07:35,040 Speaker 2: way through wild turkey and like schlitz while expounding on 136 00:07:36,160 --> 00:07:41,920 Speaker 2: being a lizard, that's can stupid. Like Jim Morrison was 137 00:07:41,960 --> 00:07:45,960 Speaker 2: a beer guy trapped in an LSD world. You know, 138 00:07:46,280 --> 00:07:48,280 Speaker 2: he's like Bob, He's basically Bob Seeker. 139 00:07:51,080 --> 00:07:54,400 Speaker 3: Strip away, if you strip away all the mythologizing, you 140 00:07:54,440 --> 00:07:57,600 Speaker 3: have a guy who is like a great blues showder 141 00:07:57,840 --> 00:08:01,360 Speaker 3: whose delusions of everything else were just was like completely 142 00:08:01,360 --> 00:08:04,600 Speaker 3: fed into by the circumstances of the times and his handsomeness. 143 00:08:05,560 --> 00:08:07,400 Speaker 1: Well all right, well I'll take it more personal. I mean, 144 00:08:07,440 --> 00:08:09,480 Speaker 1: I was a kid who got very into the doors 145 00:08:09,680 --> 00:08:12,200 Speaker 1: as like a tween, and you know, bought all the 146 00:08:12,680 --> 00:08:18,000 Speaker 1: memoirs from the respective members, did your moo rise, watched 147 00:08:18,040 --> 00:08:21,080 Speaker 1: all the documentaries and the Oliver Stone movie, learned to 148 00:08:21,080 --> 00:08:24,440 Speaker 1: play their songs on guitar from tab sites and I 149 00:08:24,480 --> 00:08:27,280 Speaker 1: poured all over the poetry, which at the time, as 150 00:08:27,320 --> 00:08:29,000 Speaker 1: like a twelve year old, I thought was deep and 151 00:08:29,080 --> 00:08:32,800 Speaker 1: cool in moody in a mysterious way. And then I 152 00:08:32,880 --> 00:08:35,840 Speaker 1: had that moment in adulthood when I thought, wait, is 153 00:08:35,880 --> 00:08:39,319 Speaker 1: this is this embarrassing? And I remember this moment actually 154 00:08:39,400 --> 00:08:41,640 Speaker 1: first occurred to me at my first job at VH 155 00:08:41,720 --> 00:08:45,120 Speaker 1: one because there was an opportunity to interview John Densmore, 156 00:08:45,240 --> 00:08:49,200 Speaker 1: the drummer, and nobody else wanted to do it, and 157 00:08:49,280 --> 00:08:52,120 Speaker 1: I was so excited. I mean, I kind of like 158 00:08:52,280 --> 00:08:55,079 Speaker 1: had checked out of the doors since college and late 159 00:08:55,160 --> 00:08:59,480 Speaker 1: high school. Things that were smart, well yeah, but still 160 00:08:59,640 --> 00:09:02,120 Speaker 1: like they a lot to me. Yeah, yeah, yeah. And 161 00:09:02,200 --> 00:09:05,680 Speaker 1: then like, while prepping for this interview, all of my 162 00:09:05,960 --> 00:09:08,760 Speaker 1: gen X coworkers were making fun of me, and it 163 00:09:08,840 --> 00:09:11,560 Speaker 1: kind of slowly started to dawn on me as I 164 00:09:11,600 --> 00:09:14,800 Speaker 1: was revisiting the doors are the doors lamb? Is? Is 165 00:09:14,880 --> 00:09:19,600 Speaker 1: Jim Morrison pretentious and awful? Yes? And the answer is sure, 166 00:09:20,360 --> 00:09:23,560 Speaker 1: But the song's rip they do, and that that is 167 00:09:23,600 --> 00:09:26,160 Speaker 1: the journey. That's the journey. But that's my thing though 168 00:09:26,240 --> 00:09:30,480 Speaker 1: that's not him. Oh no, but it's partially him. Ah 169 00:09:30,600 --> 00:09:31,160 Speaker 1: that roar. 170 00:09:31,640 --> 00:09:34,199 Speaker 2: Yeah again, he has a great voice, but like, yes, 171 00:09:34,400 --> 00:09:37,560 Speaker 2: that's him. Everything that's interesting and has held up about 172 00:09:37,559 --> 00:09:41,040 Speaker 2: the doors is not Jim. All of those influences you 173 00:09:41,280 --> 00:09:44,840 Speaker 2: just mentioned as like pitching that we're not him. Like 174 00:09:44,880 --> 00:09:46,920 Speaker 2: what does he has he ever actually talked about what 175 00:09:47,000 --> 00:09:50,000 Speaker 2: his musical influences are, aside from like he likes Frank Sinatra, 176 00:09:50,440 --> 00:09:52,840 Speaker 2: which you can kind of hear in his voice, and 177 00:09:52,880 --> 00:09:56,679 Speaker 2: he likes you know, all these other guys like likes Elvis. 178 00:09:57,440 --> 00:09:59,120 Speaker 2: I mean, I sorry, I'm talking about my ass. I'm 179 00:09:59,120 --> 00:10:01,360 Speaker 2: sure he did it some point, or though maybe he 180 00:10:01,400 --> 00:10:04,320 Speaker 2: didn't dean to even name influences. But like the rest 181 00:10:04,320 --> 00:10:06,600 Speaker 2: of the guys who were like, no, I like old 182 00:10:06,720 --> 00:10:09,959 Speaker 2: soul records. John Dinsmore was like I like Charles Mingus, 183 00:10:10,320 --> 00:10:15,040 Speaker 2: you know, like I like Flamenco guitar and all of this, 184 00:10:15,160 --> 00:10:18,280 Speaker 2: all of that goes into him. But then like again, man, 185 00:10:18,400 --> 00:10:20,520 Speaker 2: you just get a guy who didn't write any songs, 186 00:10:20,880 --> 00:10:21,320 Speaker 2: who's he. 187 00:10:21,320 --> 00:10:23,559 Speaker 1: Had literary inflo he had he wrote, you mean, he 188 00:10:23,600 --> 00:10:25,840 Speaker 1: wrote all he wrote, like most of the best songs 189 00:10:26,280 --> 00:10:27,960 Speaker 1: or a lot of the songs I know Robert Kreeger 190 00:10:27,960 --> 00:10:31,160 Speaker 1: wrote most of them. Well, he couldn't play an instrument. 191 00:10:31,240 --> 00:10:33,200 Speaker 1: He couldn't play a single chord, so he made up 192 00:10:33,280 --> 00:10:36,720 Speaker 1: melodies to remember his own lyrics, and then he would 193 00:10:36,800 --> 00:10:38,960 Speaker 1: sing them to the band and the band would kind 194 00:10:38,960 --> 00:10:41,400 Speaker 1: of tease out chord progressions again. 195 00:10:42,080 --> 00:10:43,760 Speaker 2: I mean this, yeah, dude, it goes back to like, 196 00:10:43,760 --> 00:10:45,760 Speaker 2: do you believe in songwriting by committee or do you 197 00:10:45,760 --> 00:10:49,280 Speaker 2: believe it? It's like an autorific yeah right, Like I personally, 198 00:10:50,160 --> 00:10:52,040 Speaker 2: I think unless you're there in a fly on the 199 00:10:52,040 --> 00:10:54,800 Speaker 2: wall like watching these songwriting sessions, I do not credit 200 00:10:55,320 --> 00:10:59,040 Speaker 2: Jim Morrison as being like responsible for a lion's share 201 00:10:59,080 --> 00:11:02,560 Speaker 2: of this music. I just don't if you subscribe to 202 00:11:02,559 --> 00:11:05,440 Speaker 2: the theory that all songs are is a chord progression 203 00:11:05,480 --> 00:11:09,720 Speaker 2: and a melody, sure, and lyrics, you know, sure. But 204 00:11:09,880 --> 00:11:13,320 Speaker 2: like I it just greats on me that the cover 205 00:11:13,360 --> 00:11:17,040 Speaker 2: of this album is his huge, stupid moody face and 206 00:11:17,080 --> 00:11:20,920 Speaker 2: then like the guys actually sweating it out behind him 207 00:11:21,120 --> 00:11:22,960 Speaker 2: as like tiny figures in the back. 208 00:11:23,200 --> 00:11:25,120 Speaker 1: I'm just one of the out of focus guys. 209 00:11:25,360 --> 00:11:29,680 Speaker 2: Yeah, yeah, I said. The Doors movie was like when 210 00:11:29,679 --> 00:11:32,320 Speaker 2: we got like free show time for signing up on 211 00:11:32,600 --> 00:11:35,120 Speaker 2: for Internet, Like my sophomore year of college. 212 00:11:35,160 --> 00:11:36,680 Speaker 1: It was just like playing. 213 00:11:37,080 --> 00:11:39,360 Speaker 2: It would play once a day, and so it just 214 00:11:39,400 --> 00:11:41,640 Speaker 2: became a ritual to just kind of like flick on 215 00:11:41,760 --> 00:11:44,000 Speaker 2: showtime and see if the Doors was playing, so you 216 00:11:44,000 --> 00:11:47,800 Speaker 2: can laugh at maou Komer, I'm a I'm I'm tacking on. 217 00:11:47,920 --> 00:11:48,679 Speaker 1: I'm becoming a. 218 00:11:48,679 --> 00:11:52,280 Speaker 2: Large mammle mammle, yes, yes, patting his gut. 219 00:11:53,040 --> 00:11:57,040 Speaker 1: I just want to sing the blues fan, get fat, 220 00:11:57,320 --> 00:12:01,000 Speaker 1: do nothing, go nowhere, just slig Jimbo, you ain't got 221 00:12:01,040 --> 00:12:01,560 Speaker 1: much choice? 222 00:12:01,800 --> 00:12:04,959 Speaker 2: What is wrong as being a large mammal, a big 223 00:12:05,040 --> 00:12:07,080 Speaker 2: beast like a tank field? 224 00:12:08,960 --> 00:12:12,079 Speaker 1: That movie I think did a grave disservice? Did Jim 225 00:12:12,120 --> 00:12:16,160 Speaker 1: Morrison did it though? Or did it just show the 226 00:12:16,200 --> 00:12:17,440 Speaker 1: Emperor had no clothes? 227 00:12:17,800 --> 00:12:22,920 Speaker 2: Oh look, I want to go on record as saying 228 00:12:23,040 --> 00:12:24,480 Speaker 2: I like the Doors. 229 00:12:24,720 --> 00:12:26,199 Speaker 1: I like their recorded output. 230 00:12:26,280 --> 00:12:31,559 Speaker 2: Jim Morrison has like one of the foundational voices in rock. 231 00:12:32,200 --> 00:12:36,839 Speaker 2: Their songs slap, they are recorded well. Raymond Zarek is 232 00:12:36,880 --> 00:12:40,600 Speaker 2: like just an innovator for the whole playing keyboard, bassed 233 00:12:40,600 --> 00:12:44,280 Speaker 2: thing and beyond, and like the other guys are tremendous musicians. 234 00:12:45,040 --> 00:12:48,440 Speaker 2: But when you have the dominant personality in your band 235 00:12:48,640 --> 00:12:54,240 Speaker 2: as such a self important boob. That's what I'm gonna 236 00:12:54,240 --> 00:12:54,920 Speaker 2: focus on. 237 00:12:56,320 --> 00:12:58,560 Speaker 1: I think for me, it was just so shocking because 238 00:12:58,559 --> 00:13:01,599 Speaker 1: it was like suddenly here that like Jimmy Hendrix was 239 00:13:01,720 --> 00:13:04,160 Speaker 1: lame or something like. It was something that just was 240 00:13:04,200 --> 00:13:06,320 Speaker 1: so shocking to me as an adult to be like, 241 00:13:06,360 --> 00:13:06,840 Speaker 1: oh my. 242 00:13:06,760 --> 00:13:09,720 Speaker 2: God, well I have news about Jimmy Hendricks's lyrics too. 243 00:13:10,400 --> 00:13:16,560 Speaker 2: Well they are dumb. They're about turning into Murman. Although 244 00:13:16,559 --> 00:13:19,160 Speaker 2: that song Whips, you know, that song is so funny 245 00:13:19,200 --> 00:13:22,040 Speaker 2: because like it's so meandering and boring and there's like 246 00:13:22,160 --> 00:13:25,240 Speaker 2: three parts when you're like, oh, this is about to 247 00:13:25,360 --> 00:13:28,240 Speaker 2: kick the fuck in, like classic Hendrick stuff, and then 248 00:13:28,240 --> 00:13:32,480 Speaker 2: it just goes back to being meandering and boring. Uh 249 00:13:32,520 --> 00:13:35,800 Speaker 2: that's nineteen eighty three. Uh a merman I should turn 250 00:13:35,920 --> 00:13:38,920 Speaker 2: to be. I think, yes, some ellipses in there, if 251 00:13:38,920 --> 00:13:40,480 Speaker 2: anyone's keeping track at home. 252 00:13:40,840 --> 00:13:42,760 Speaker 1: You know, and the thing is like, man, you get this, 253 00:13:42,920 --> 00:13:43,920 Speaker 1: I get this with everything. 254 00:13:44,120 --> 00:13:47,160 Speaker 2: I was a Charles Wakowski fan, all right, Like I also, 255 00:13:47,679 --> 00:13:50,560 Speaker 2: you know, I was deeply invested in Sublime for like 256 00:13:50,600 --> 00:13:51,440 Speaker 2: a year and a half. 257 00:13:52,160 --> 00:13:54,400 Speaker 1: Interesting, Well, you did have dreads as a kid. 258 00:13:54,360 --> 00:13:56,520 Speaker 2: Yes, that didn't have anything to do with it though 259 00:13:56,600 --> 00:13:59,480 Speaker 2: I I I think I just thought they were like 260 00:13:59,679 --> 00:14:03,360 Speaker 2: genly they were like genuinely dangerous and like had like 261 00:14:04,000 --> 00:14:06,319 Speaker 2: tears of the clown aspect where I could listen to 262 00:14:06,440 --> 00:14:11,679 Speaker 2: like just bad fish and be like, wow, he was sad, 263 00:14:12,040 --> 00:14:16,480 Speaker 2: but also he could party, you know, And then I 264 00:14:16,600 --> 00:14:21,320 Speaker 2: was like, no, this is frat boy and some people 265 00:14:21,480 --> 00:14:23,840 Speaker 2: are still super into Sublime and that's fine and. 266 00:14:23,800 --> 00:14:24,480 Speaker 1: Well and good. 267 00:14:24,880 --> 00:14:29,200 Speaker 2: Everyone's experience of transcending their teen stupidity is different, and 268 00:14:29,240 --> 00:14:33,120 Speaker 2: that's fine, and we can celebrate that. But like, again, 269 00:14:33,560 --> 00:14:37,040 Speaker 2: the way that he has been enshrined is that we 270 00:14:37,080 --> 00:14:39,840 Speaker 2: was such a necessary corrective for him to also be 271 00:14:39,920 --> 00:14:42,600 Speaker 2: taken down, you know, Like I wonder how. 272 00:14:42,480 --> 00:14:46,000 Speaker 1: The Door's reputation would have would have evolved had Jim lived. 273 00:14:47,080 --> 00:14:49,000 Speaker 1: Would we all have would we all have come to 274 00:14:49,040 --> 00:14:51,760 Speaker 1: this conclusion a lot earlier because he would have put 275 00:14:51,800 --> 00:14:52,880 Speaker 1: out a poetry record. 276 00:14:53,240 --> 00:14:56,920 Speaker 2: They would have gotten into synths, and like the late 277 00:14:57,000 --> 00:15:00,000 Speaker 2: seventies would have been one of the most tragic things 278 00:15:00,160 --> 00:15:03,640 Speaker 2: to watch for them in terms of fashion. God forbid, 279 00:15:03,680 --> 00:15:05,680 Speaker 2: they've lived into the eighties. When you get into like 280 00:15:05,760 --> 00:15:09,600 Speaker 2: the Keith and Mick like shiny shirt or Bob Dylan 281 00:15:09,680 --> 00:15:13,480 Speaker 2: like Empire burlesque fashion era. That would have been a 282 00:15:13,520 --> 00:15:16,800 Speaker 2: majestic train wreck. And that's the other thing about Morrison 283 00:15:16,840 --> 00:15:21,640 Speaker 2: everyone loves is he died tragic and still kind of sexy. 284 00:15:22,040 --> 00:15:24,240 Speaker 1: Yeah. I mean it's the Rolling Stone cover like ten 285 00:15:24,280 --> 00:15:29,160 Speaker 1: years after his death. He's hot, he's sexy, he's dead. Yeah. Anyway, 286 00:15:29,720 --> 00:15:31,320 Speaker 1: well hot, damn. We got a lot to talk about. 287 00:15:31,360 --> 00:15:34,280 Speaker 1: Here we go. Let's dive in from the time Jim 288 00:15:34,280 --> 00:15:37,760 Speaker 1: Morrison dropped acid and destroyed the recording studio to the 289 00:15:37,800 --> 00:15:44,160 Speaker 1: time his dad started the Vietnam War, only partially getting to. 290 00:15:44,160 --> 00:15:46,560 Speaker 2: When he eats more Chicken than any man ever. 291 00:15:46,440 --> 00:15:52,280 Speaker 1: Seen, to the corporate training film that would yield their 292 00:15:52,320 --> 00:15:56,600 Speaker 1: first recordings, the historic first use of billboards and Moog synths, 293 00:15:57,320 --> 00:16:00,640 Speaker 1: and of course, a heaping helping of daddy issues. Here's 294 00:16:00,800 --> 00:16:08,560 Speaker 1: everything you didn't know about the Thor's debut. 295 00:16:11,200 --> 00:16:13,880 Speaker 2: You should just punch it. Why is there no Jamorrison soundboard? 296 00:16:14,200 --> 00:16:17,160 Speaker 1: I know, yeah, well I would Lee Roth. 297 00:16:17,680 --> 00:16:23,440 Speaker 2: Yeah, I forgot my favorite Jim Morrison adlet or not Adlin. 298 00:16:23,480 --> 00:16:25,960 Speaker 1: But intro is the petition the Lord with Prayer part 299 00:16:27,000 --> 00:16:34,360 Speaker 1: you can not petition. That's so cool. I remember back 300 00:16:34,400 --> 00:16:37,680 Speaker 1: there in Seminary school. Yeah, yeah, that was so good. 301 00:16:38,000 --> 00:16:41,160 Speaker 1: There was a person there who put thought the proposition 302 00:16:41,800 --> 00:16:44,920 Speaker 1: that you can petition the Lord with prayer. 303 00:16:45,160 --> 00:16:52,520 Speaker 2: Petition the Lord with prayer, you canna pratisann with rare. 304 00:16:55,440 --> 00:16:58,520 Speaker 1: What is that from? I mean, what is that? 305 00:16:58,560 --> 00:17:01,440 Speaker 2: I'm trying to figure it out, man, I mean, I 306 00:17:01,440 --> 00:17:03,480 Speaker 2: mean my bed is that it was something that like 307 00:17:03,560 --> 00:17:05,360 Speaker 2: he heard on like AM radio. 308 00:17:06,080 --> 00:17:09,840 Speaker 1: Going through the South and some like religious station. Yeah, 309 00:17:09,920 --> 00:17:13,880 Speaker 1: because you do hear that? Yeah, oh yeah, yeah yeah. 310 00:17:13,960 --> 00:17:16,479 Speaker 1: According to the well worn myth of the Doors, the 311 00:17:16,520 --> 00:17:19,280 Speaker 1: band formed on Venice Beach in the summer of nineteen 312 00:17:19,359 --> 00:17:22,280 Speaker 1: sixty five when ray Man Xeric bumped into his former 313 00:17:22,400 --> 00:17:25,960 Speaker 1: UCLA Film School classmate Jim Morrison, sitting on the sand 314 00:17:26,080 --> 00:17:28,480 Speaker 1: and staring lootlely out of the Pacific, just a few 315 00:17:28,520 --> 00:17:32,239 Speaker 1: months after graduation. It's a great image, but that's not 316 00:17:32,480 --> 00:17:36,960 Speaker 1: an accurate summation of their musical beginnings. Throughout college. Ray 317 00:17:37,000 --> 00:17:40,080 Speaker 1: Man Zak fronted Rick and the Ravens, a Santa Monica 318 00:17:40,119 --> 00:17:44,240 Speaker 1: bar band specializing in surf and blues. Assuming the persona 319 00:17:44,320 --> 00:17:48,560 Speaker 1: of screaming Ray Daniels, the bearded blue shouter wo that 320 00:17:48,640 --> 00:17:51,040 Speaker 1: should have gone back to the drawing board, Ray and 321 00:17:51,200 --> 00:17:54,200 Speaker 1: two of his brothers spent early nineteen sixty five playing 322 00:17:54,240 --> 00:17:58,040 Speaker 1: regular weekend gigs at the Turkey Joint West, he dive 323 00:17:58,280 --> 00:18:02,280 Speaker 1: for quote swinging young people located just blocks from the beach. 324 00:18:03,119 --> 00:18:05,400 Speaker 1: As Ray would later recall, we didn't know what we 325 00:18:05,400 --> 00:18:08,400 Speaker 1: were doing. We were just having fun. It's like us. 326 00:18:09,000 --> 00:18:12,240 Speaker 1: They were often visited by Ray's UCLA film school classmates, 327 00:18:12,280 --> 00:18:15,399 Speaker 1: including the young Jim Morrison, who had actually featured the 328 00:18:15,440 --> 00:18:17,800 Speaker 1: one of raised student films, which is sweet. This actually 329 00:18:17,920 --> 00:18:20,399 Speaker 1: early footage of them from like nineteen sixty four, a 330 00:18:20,440 --> 00:18:25,360 Speaker 1: full year two years before they'd even conceived of the doors. Jim, unfortunately, 331 00:18:25,600 --> 00:18:28,840 Speaker 1: when he'd go visit Ray's band at the Turkey Joint West, 332 00:18:28,840 --> 00:18:32,160 Speaker 1: he was already displaying a penchant for booze. As Ray 333 00:18:32,200 --> 00:18:34,760 Speaker 1: Manzeric wrote in his memoir Light My Fire, when Jim 334 00:18:34,800 --> 00:18:37,399 Speaker 1: got loose, he would shout out song titles at the band, 335 00:18:37,560 --> 00:18:40,400 Speaker 1: mainly Louis Louie. We could always hear him barking from 336 00:18:40,400 --> 00:18:43,840 Speaker 1: the back of the room, and one night Ray decided 337 00:18:43,840 --> 00:18:47,080 Speaker 1: to dude teach his drunken friend the lesson leaning into 338 00:18:47,119 --> 00:18:50,159 Speaker 1: the mic screaming. Ray invited Jim onto the stage to 339 00:18:50,160 --> 00:18:53,040 Speaker 1: help him sing a special version of the Kingsman Classic, 340 00:18:53,760 --> 00:18:55,800 Speaker 1: and though jub had never sung for an audience, he 341 00:18:55,880 --> 00:18:59,800 Speaker 1: did not back down. As Ray continued, Jim let out 342 00:18:59,800 --> 00:19:03,119 Speaker 1: a blood curdling war whoop and the Turkey joint West 343 00:19:03,160 --> 00:19:07,439 Speaker 1: went Diane Eyson. The place exploded. He was good and 344 00:19:07,480 --> 00:19:10,919 Speaker 1: he loved it. He hopped around and sang himself hoarse. 345 00:19:11,359 --> 00:19:14,040 Speaker 1: That was Jim's first on stage singing experience. 346 00:19:14,080 --> 00:19:17,439 Speaker 2: Really really set the tone with him being a drunken heckler. 347 00:19:18,440 --> 00:19:22,280 Speaker 1: Yeah, it is crazy, I think, is it anyone here. 348 00:19:22,160 --> 00:19:24,480 Speaker 2: Gets out alive where someone talks about him like having 349 00:19:24,480 --> 00:19:28,320 Speaker 2: some kind of weird genetic quirk that made alcohol hit 350 00:19:28,400 --> 00:19:31,920 Speaker 2: harder for him somebody. 351 00:19:32,200 --> 00:19:34,560 Speaker 1: Yeah, I remember reading that or hearing that in interviews 352 00:19:34,600 --> 00:19:36,960 Speaker 1: that they would describe it as like an allergy. And 353 00:19:37,040 --> 00:19:38,760 Speaker 1: I don't know if that was just a way of 354 00:19:40,359 --> 00:19:43,520 Speaker 1: phrasing alcoholism in a in a unique way or what. 355 00:19:43,760 --> 00:19:46,160 Speaker 2: But y Yeah, but no, people, I mean I've heard 356 00:19:46,160 --> 00:19:48,800 Speaker 2: that like three drink thing from a few different people 357 00:19:48,840 --> 00:19:51,040 Speaker 2: where they were like, he would not he did not 358 00:19:51,200 --> 00:19:54,280 Speaker 2: take He was not like a put away heroic. I 359 00:19:54,280 --> 00:19:56,240 Speaker 2: mean he could put away heroic amounts, but it did 360 00:19:56,240 --> 00:19:58,800 Speaker 2: not take a heroic amount for him to get drunk. 361 00:19:58,720 --> 00:20:02,000 Speaker 1: Yeah, or to just become a different person, was it? 362 00:20:02,160 --> 00:20:04,320 Speaker 1: I mean, I guess we're splitting hairs here, but I 363 00:20:04,320 --> 00:20:06,119 Speaker 1: mean that was more what it came down to. 364 00:20:06,880 --> 00:20:10,720 Speaker 2: Uh, Jim, Like I said at the Top Man the 365 00:20:10,800 --> 00:20:16,400 Speaker 2: Ultimate Sixties himbo, I'm hard pressed to find another, is there. 366 00:20:16,520 --> 00:20:21,320 Speaker 2: That's a genuine question. Ah, more handsome counterculture icon. 367 00:20:22,119 --> 00:20:24,959 Speaker 1: I mean, what would you think about Mick Jagger? 368 00:20:25,400 --> 00:20:30,199 Speaker 2: I think Mick Jagger is too uh his sexuality and 369 00:20:30,280 --> 00:20:32,280 Speaker 2: presentation is too androgynous. 370 00:20:32,560 --> 00:20:36,760 Speaker 1: True, Okay, that's a good I'll accept that. Yeah, yeah, 371 00:20:36,800 --> 00:20:40,919 Speaker 1: I got no one Yeah, so tweeted Yeah at Ultimate 372 00:20:40,920 --> 00:20:41,600 Speaker 1: Sixties himbo. 373 00:20:42,240 --> 00:20:44,840 Speaker 2: Yeah so like the sixties himbo non parrella. One of 374 00:20:44,880 --> 00:20:47,359 Speaker 2: the funniest things in I think again it's no one 375 00:20:47,359 --> 00:20:49,600 Speaker 2: here gets out alive. Is Manzuric talking about how into 376 00:20:49,640 --> 00:20:51,360 Speaker 2: weightlifting they were together. 377 00:20:52,119 --> 00:20:56,240 Speaker 1: Oh yeah, they were just like well because Raybezeric's wife 378 00:20:56,359 --> 00:20:59,199 Speaker 1: or girlfriend like actually had a job and then they 379 00:20:59,240 --> 00:21:02,280 Speaker 1: would just spend the day on Venice Beach, like doing 380 00:21:02,280 --> 00:21:05,600 Speaker 1: the monkey bars endlessly. Yeah, while like she went off 381 00:21:05,600 --> 00:21:08,320 Speaker 1: to be like a computer programmer or something to actually 382 00:21:08,359 --> 00:21:11,440 Speaker 1: like get money for food. Yeah, yeah. 383 00:21:11,440 --> 00:21:15,960 Speaker 2: God, how many sixties bands were like born upon the 384 00:21:16,000 --> 00:21:18,600 Speaker 2: backs of women, hardworking women? 385 00:21:18,680 --> 00:21:22,360 Speaker 1: Yeah, like all of them, probably many of them. Yeah. 386 00:21:22,400 --> 00:21:25,480 Speaker 2: So you have a favorite Morrison line reading that I 387 00:21:25,560 --> 00:21:26,920 Speaker 2: believe you'd like to share with us. 388 00:21:27,400 --> 00:21:27,600 Speaker 4: Yeah. 389 00:21:27,680 --> 00:21:29,600 Speaker 1: No, I'll defend them to the death, purely for the 390 00:21:29,640 --> 00:21:31,760 Speaker 1: reading of his line, you men eat your dinner, you 391 00:21:31,800 --> 00:21:34,680 Speaker 1: eat your pork and beans. I ate more chicken any 392 00:21:34,720 --> 00:21:36,760 Speaker 1: man ever seen from back door Man. 393 00:21:36,960 --> 00:21:41,120 Speaker 2: That's a slight you're forgetting, he says, I eat. Oh, 394 00:21:41,119 --> 00:21:45,400 Speaker 2: excuse me, yes, which is what edges it into buffoon territory. 395 00:21:45,680 --> 00:21:48,040 Speaker 1: Oh, I think it whips. I think that that song, 396 00:21:48,080 --> 00:21:49,760 Speaker 1: it's one of my favorite songs on the light back. 397 00:21:49,680 --> 00:21:53,639 Speaker 2: Door Man Savage. Yeah, yeah, yeah, yeah, But it's the 398 00:21:53,680 --> 00:21:58,639 Speaker 2: fact that he's doing a black voice. 399 00:21:58,200 --> 00:21:58,720 Speaker 1: One of them. More. 400 00:21:58,960 --> 00:22:01,880 Speaker 2: Of all the endlessly and entertaining Morrison anecdotes out there, 401 00:22:01,880 --> 00:22:04,320 Speaker 2: one of the most illustrative, I think is his own 402 00:22:04,359 --> 00:22:07,480 Speaker 2: recollection of what he described himself as the most formative 403 00:22:07,520 --> 00:22:11,120 Speaker 2: memory of his life, and in his telling, a toddler 404 00:22:11,160 --> 00:22:14,119 Speaker 2: aged Morrison in his family drove past a grisly car 405 00:22:14,160 --> 00:22:18,639 Speaker 2: accident involving some Native American people. Jim fixated this and 406 00:22:18,720 --> 00:22:22,760 Speaker 2: referenced it in multiple songs and spoken word poetries. He's 407 00:22:22,800 --> 00:22:25,720 Speaker 2: described it as seeing Indians scattered all over the highway, 408 00:22:25,800 --> 00:22:29,720 Speaker 2: bleeding to death and positive that maybe one or two 409 00:22:29,840 --> 00:22:33,320 Speaker 2: of those Native American souls took up residence in his body, 410 00:22:33,480 --> 00:22:37,440 Speaker 2: which is just a hilarious turn of phrase, like maybe one, 411 00:22:37,680 --> 00:22:40,000 Speaker 2: maybe two. I have no way of knowing how many 412 00:22:40,080 --> 00:22:42,199 Speaker 2: Native American souls are in me. 413 00:22:42,920 --> 00:22:46,160 Speaker 1: Some could have snuck in one and a half possibly 414 00:22:46,240 --> 00:22:49,359 Speaker 1: maybe one in a toddlers, really no way to tell, no. 415 00:22:49,640 --> 00:22:53,199 Speaker 2: So but like his family is like, yeah, I don't know, 416 00:22:53,200 --> 00:22:55,040 Speaker 2: that didn't really happen that way, Like I think his 417 00:22:55,160 --> 00:22:58,200 Speaker 2: dad was, like Jim really fixated it on on it, 418 00:22:59,000 --> 00:23:01,879 Speaker 2: but I don't call it being like a horrifying accident. 419 00:23:01,960 --> 00:23:05,160 Speaker 2: And same with his sister. You know, the bare bones 420 00:23:05,200 --> 00:23:06,920 Speaker 2: facts of his childhood that he was a military brad. 421 00:23:07,000 --> 00:23:10,239 Speaker 2: He bounced around all over the place, per no one 422 00:23:10,280 --> 00:23:12,359 Speaker 2: here gets out alive. He was like a bright kid. 423 00:23:12,800 --> 00:23:15,880 Speaker 2: Supposedly he had an IQ of one hundred and forty nine. 424 00:23:16,480 --> 00:23:21,720 Speaker 2: IQ measurements are a specious science, but per my googling, 425 00:23:21,760 --> 00:23:24,360 Speaker 2: that puts him in range of such luminaries as Matt 426 00:23:24,440 --> 00:23:25,840 Speaker 2: Damon and James Woods. 427 00:23:27,160 --> 00:23:33,640 Speaker 1: So IQ tests basically like the lie detectors of intelligence measurement. 428 00:23:34,840 --> 00:23:40,600 Speaker 2: Yeah, and again like having read stuff doesn't imply comprehensive 429 00:23:40,600 --> 00:23:43,880 Speaker 2: you understand it? Yes, But like wheneveryone talks about him 430 00:23:43,920 --> 00:23:48,200 Speaker 2: like being obsessed with antonin Arteau's like Theater of Cruelty. 431 00:23:48,320 --> 00:23:51,280 Speaker 2: It's just funny that he like read these groundbreaking works 432 00:23:51,280 --> 00:23:54,280 Speaker 2: of French surrealism. It was like, get drunk and whip 433 00:23:54,320 --> 00:23:54,880 Speaker 2: your dick out. 434 00:23:57,440 --> 00:24:01,479 Speaker 1: Wasn't that from a fish called Wanda? Jamie Lee Curtis 435 00:24:01,560 --> 00:24:05,440 Speaker 1: is saying to Kevin Klein's character, like gorilla can read Sartra, 436 00:24:05,720 --> 00:24:08,000 Speaker 1: doesn't mean he understands it. Yeah. 437 00:24:08,160 --> 00:24:10,520 Speaker 2: Morrison was the proverbial grill in that. 438 00:24:12,160 --> 00:24:12,280 Speaker 1: Now. 439 00:24:12,359 --> 00:24:14,880 Speaker 2: I mean he there was apparently evidence of the men 440 00:24:14,960 --> 00:24:18,159 Speaker 2: he would become as early as his teen years. At 441 00:24:18,240 --> 00:24:20,680 Speaker 2: one point, he was riding the bus and reduced an 442 00:24:20,720 --> 00:24:24,639 Speaker 2: older woman sitting next to him to tears by repeatedly 443 00:24:24,680 --> 00:24:29,679 Speaker 2: demanding what do you think of elephants? So that's cool 444 00:24:29,960 --> 00:24:34,480 Speaker 2: that he did that to an old lady on public transportation. 445 00:24:37,000 --> 00:24:38,280 Speaker 1: He was mostly very well read. 446 00:24:39,000 --> 00:24:41,560 Speaker 2: I did find one great anecdote from his high school 447 00:24:41,560 --> 00:24:45,479 Speaker 2: English teacher, who was like he was literally checking or 448 00:24:45,520 --> 00:24:49,480 Speaker 2: dispatching someone to the Library of Congress because he suspected 449 00:24:49,480 --> 00:24:52,800 Speaker 2: that Jim was making up books and doing book reports 450 00:24:52,840 --> 00:24:55,960 Speaker 2: on them because they were all like weird sixteenth and 451 00:24:56,040 --> 00:25:00,000 Speaker 2: seventeenth like demonology and witchcraft texts. And the guy was like, 452 00:25:00,760 --> 00:25:03,399 Speaker 2: I think these may not be actual books. 453 00:25:04,359 --> 00:25:06,439 Speaker 1: But they were. But they all to his credit, they 454 00:25:06,480 --> 00:25:10,200 Speaker 1: always were. God love him. I interviewed Jim's sister Anne 455 00:25:10,359 --> 00:25:13,879 Speaker 1: a few years ago when they were putting out a 456 00:25:13,880 --> 00:25:17,159 Speaker 1: compilation book of some of Jim's early writings and notebooks, 457 00:25:17,680 --> 00:25:20,600 Speaker 1: and she told me some really funny stories. I guess. 458 00:25:20,640 --> 00:25:24,159 Speaker 1: Once their mother gave Jim some money to buy a 459 00:25:24,200 --> 00:25:27,800 Speaker 1: new shirt, and Jim went to Goodwill and bought the 460 00:25:27,840 --> 00:25:30,760 Speaker 1: cheapest one he could find and spent the rest on books, 461 00:25:31,240 --> 00:25:33,400 Speaker 1: which honestly was a move I probably would have done 462 00:25:33,720 --> 00:25:39,640 Speaker 1: as a tween fourteen or now. Another time, Jim excused 463 00:25:39,720 --> 00:25:43,080 Speaker 1: himself from class, telling his teacher that he needed to 464 00:25:43,119 --> 00:25:48,280 Speaker 1: have surgery on a quite obviously non existent brain tumor. Instead, 465 00:25:48,320 --> 00:25:50,240 Speaker 1: he went home and spent the rest of the day reading. 466 00:25:52,200 --> 00:25:53,800 Speaker 1: I don't know why I find this as amusing as 467 00:25:53,840 --> 00:25:56,080 Speaker 1: I do. On a family car trip, Jim insisted they 468 00:25:56,080 --> 00:25:59,000 Speaker 1: make a pilgrimage to the North Carolina home that once 469 00:25:59,080 --> 00:26:02,840 Speaker 1: belonged to the twenty century novelist Thomas Wolfe, and no 470 00:26:02,880 --> 00:26:05,159 Speaker 1: one else wanted to go, so his dad took him alone. 471 00:26:05,600 --> 00:26:08,440 Speaker 1: That's cute. And Jim's sister told me how Jim would 472 00:26:08,560 --> 00:26:10,680 Speaker 1: make a habit of whenever he learned a new word, 473 00:26:10,920 --> 00:26:13,800 Speaker 1: he would write a whole paragraph around it just to 474 00:26:13,840 --> 00:26:16,440 Speaker 1: get the language of it, which is a good hack. 475 00:26:16,600 --> 00:26:18,680 Speaker 1: Actually it is a very good It's a good hack, 476 00:26:18,800 --> 00:26:22,120 Speaker 1: very good habit. He would later destroy all of these 477 00:26:22,160 --> 00:26:24,600 Speaker 1: early notebooks, or most of them anyway, and he fit 478 00:26:24,680 --> 00:26:27,960 Speaker 1: of artistic self consciousness. But one of these high school 479 00:26:28,040 --> 00:26:31,600 Speaker 1: verses would later surface as the very evocative spoken word 480 00:26:31,600 --> 00:26:35,760 Speaker 1: piece Horse Latitudes on The Door's sophomore record nineteen sixty 481 00:26:35,800 --> 00:26:39,479 Speaker 1: seven Strange Days, a phrase I have always admittedly loved, 482 00:26:39,920 --> 00:26:44,200 Speaker 1: course slat. I mean, the best part was, I guess. 483 00:26:44,359 --> 00:26:48,560 Speaker 1: He debuted this piece to his mother's bridge club when 484 00:26:48,560 --> 00:26:51,919 Speaker 1: he was in high school, and his sister told me 485 00:26:51,960 --> 00:26:54,320 Speaker 1: he was like, yeah, I think they just had their 486 00:26:54,359 --> 00:26:57,480 Speaker 1: mouths open, and then he ran to his room giggling. 487 00:26:58,240 --> 00:27:01,480 Speaker 1: So imagine a teenage Jim Morison reading Horse Latitudes of 488 00:27:01,520 --> 00:27:06,239 Speaker 1: his mother's suburban bridge club, and then reacting to their confusion. 489 00:27:05,720 --> 00:27:09,439 Speaker 2: And running away like a little child. Yes, yes, a 490 00:27:09,480 --> 00:27:13,560 Speaker 2: giggling little boy. I can't imagine Jim Morrison giggling. 491 00:27:13,840 --> 00:27:19,040 Speaker 1: No, no, very much. No, I don't know. 492 00:27:19,480 --> 00:27:23,439 Speaker 2: But most germane to this episode is his fixation on 493 00:27:24,680 --> 00:27:29,720 Speaker 2: the range of philosophers that moody teens get exposed to. 494 00:27:30,240 --> 00:27:34,480 Speaker 2: Nietzsche obviously a big one, the range of French existentialists, 495 00:27:34,480 --> 00:27:39,080 Speaker 2: their references to Journey A Long Day's Journey into Night 496 00:27:39,600 --> 00:27:43,640 Speaker 2: and one of the most turgid existentialist texts I've ever 497 00:27:43,680 --> 00:27:46,760 Speaker 2: forced myself through, And of course the aforementioned Theater of 498 00:27:46,800 --> 00:27:52,800 Speaker 2: Cruelty pioneer antonin Artaux anton In Whatever. Morrison, having transferred 499 00:27:52,800 --> 00:27:57,280 Speaker 2: to UCLA from Florida State Tallahassee, he took a class 500 00:27:57,280 --> 00:28:01,120 Speaker 2: on Our Toe and remained deeply the men's influence as 501 00:28:01,119 --> 00:28:03,639 Speaker 2: far as his approach to live performance and some of 502 00:28:03,680 --> 00:28:06,960 Speaker 2: the student films that he made while at UCLA before 503 00:28:06,960 --> 00:28:10,320 Speaker 2: he graduated with his degree in film. Have you seen 504 00:28:10,400 --> 00:28:13,320 Speaker 2: Jim Morrison's short films? Leave one of them is out there? 505 00:28:13,560 --> 00:28:16,639 Speaker 1: Oh? I think the only one that's out there is 506 00:28:16,720 --> 00:28:20,119 Speaker 1: almost like visual poetry. I think it's just like a 507 00:28:20,200 --> 00:28:23,160 Speaker 1: jumble of images. I don't think I've made it through 508 00:28:23,160 --> 00:28:25,160 Speaker 1: that one, and then I think the rest were burned. 509 00:28:25,320 --> 00:28:28,000 Speaker 1: If I recall, I think that was sort of like 510 00:28:28,040 --> 00:28:30,919 Speaker 1: the process that the college followed was that they just 511 00:28:30,920 --> 00:28:32,919 Speaker 1: burned all the student films that didn't make it to 512 00:28:32,960 --> 00:28:36,280 Speaker 1: like a certain level in like competitions or something good 513 00:28:36,280 --> 00:28:42,880 Speaker 1: for them. Yeah. Well, after graduating UCLA in May of 514 00:28:42,920 --> 00:28:46,120 Speaker 1: nineteen sixty five, Jim had plans to move to New 515 00:28:46,200 --> 00:28:48,840 Speaker 1: York City, and so it took Ray and Zerk by 516 00:28:48,840 --> 00:28:51,640 Speaker 1: surprise when he ran into Jim on Venice Beach a 517 00:28:51,680 --> 00:28:55,080 Speaker 1: few months after graduation. Apparently it was forty days and 518 00:28:55,120 --> 00:28:58,760 Speaker 1: forty nights after graduation. You say that Ray highlighted the 519 00:28:58,760 --> 00:29:01,479 Speaker 1: biblical significance of this to Terry Gross in an interview 520 00:29:01,480 --> 00:29:03,480 Speaker 1: in nineteen eighty eight. I didn't know that. 521 00:29:03,520 --> 00:29:04,200 Speaker 2: I do say that. 522 00:29:04,480 --> 00:29:07,960 Speaker 1: I did say so, forty days of forty nights after graduation, 523 00:29:08,440 --> 00:29:11,880 Speaker 1: he ran into his friend Jim, who he thought had 524 00:29:11,920 --> 00:29:14,400 Speaker 1: moved to New York, on Denis Beach and he told 525 00:29:14,480 --> 00:29:17,400 Speaker 1: Terry Gross. I said, Jim, what have you been up to? 526 00:29:17,560 --> 00:29:20,920 Speaker 1: And Jim said, well, been living up on Dennis Jacob's roof, 527 00:29:21,200 --> 00:29:24,800 Speaker 1: consuming a bit of LSD and writing songs. I mean 528 00:29:25,000 --> 00:29:26,400 Speaker 1: a bit a bit of LSD. 529 00:29:26,600 --> 00:29:30,000 Speaker 2: Yes, a bit seems like an under cell. Manserik said 530 00:29:30,000 --> 00:29:34,360 Speaker 2: that Jim's died at the time was LSD and canned beans, 531 00:29:35,280 --> 00:29:37,600 Speaker 2: and another line in that no one here gets out 532 00:29:37,600 --> 00:29:40,920 Speaker 2: alive for first to him swallowing LSD like beer nuts, 533 00:29:41,680 --> 00:29:45,280 Speaker 2: which he was probably also swallowing Jesus. So. 534 00:29:45,400 --> 00:29:49,120 Speaker 1: During this meeting on the beach, Ray convinced a very 535 00:29:49,160 --> 00:29:52,040 Speaker 1: shy Jim Morrison to sing him one of his songs 536 00:29:52,040 --> 00:29:54,880 Speaker 1: that he was working on. Ray would say he sat 537 00:29:54,920 --> 00:29:57,240 Speaker 1: down on the beach, dug his hands into the sand, 538 00:29:57,680 --> 00:29:59,920 Speaker 1: and the sands started streaming out in a little rivu. 539 00:30:00,680 --> 00:30:03,080 Speaker 1: He kind of closed his eyes and began to sing 540 00:30:03,120 --> 00:30:09,360 Speaker 1: in a chet baker, haunted whisper kind of voice. Yeah, yeah, 541 00:30:09,840 --> 00:30:26,360 Speaker 1: a lizard. He began my joke. He began to sing 542 00:30:26,400 --> 00:30:29,520 Speaker 1: Moonlight Drive. And when I heard that first stanza, let's 543 00:30:29,560 --> 00:30:33,440 Speaker 1: swim to the moon, let's climb through the tide, penetrate 544 00:30:33,560 --> 00:30:38,040 Speaker 1: the evening, that the city sleeps to hide, I thought, ooh, spooky, 545 00:30:38,280 --> 00:30:43,760 Speaker 1: cool man. He probably didn't say it like that. He 546 00:30:43,840 --> 00:30:44,720 Speaker 1: probably said. 547 00:30:44,560 --> 00:30:49,640 Speaker 2: It has he heard other poetry that was good. I 548 00:30:49,760 --> 00:30:52,240 Speaker 2: prefer the version of the Oliver Stone movie where he's like, Jim, 549 00:30:52,240 --> 00:30:54,160 Speaker 2: We're going to start a band and make a million dollars. 550 00:30:55,280 --> 00:30:57,960 Speaker 1: Yeah, that's that's another version of that too. Yeah. See. 551 00:30:58,320 --> 00:31:01,320 Speaker 1: He has commented in many interviews about how he noticed 552 00:31:01,360 --> 00:31:04,400 Speaker 1: how handsome he just looked in them. I guess he'd 553 00:31:04,440 --> 00:31:08,560 Speaker 1: lost a lot of weight after graduation, four or five pounds. 554 00:31:08,640 --> 00:31:09,000 Speaker 1: He said. 555 00:31:09,400 --> 00:31:11,120 Speaker 2: This isn't the terry gross thing. He was like the 556 00:31:11,160 --> 00:31:14,640 Speaker 2: fact that Jim attracted, as he says, the little girls, 557 00:31:15,280 --> 00:31:16,120 Speaker 2: which is the mind. 558 00:31:16,200 --> 00:31:19,960 Speaker 1: I know that's a blues idiom, but like that's gross. 559 00:31:21,360 --> 00:31:23,600 Speaker 2: The fact that Jim attracted the little girls was something 560 00:31:23,600 --> 00:31:25,200 Speaker 2: that I knew he was going to do when I 561 00:31:25,200 --> 00:31:27,080 Speaker 2: saw him at one hundred and thirty five pounds on 562 00:31:27,120 --> 00:31:30,440 Speaker 2: the beach, which is like near emaciated. Actually, unless Jim 563 00:31:30,600 --> 00:31:32,840 Speaker 2: was he like five to seven. He does have short. 564 00:31:32,640 --> 00:31:35,680 Speaker 1: Eye energy, he does. I think he's tall on that though, 565 00:31:35,680 --> 00:31:38,200 Speaker 1: he's probably like five to ten. I do love though, 566 00:31:38,240 --> 00:31:41,880 Speaker 1: that it was one light drive that kick this whole 567 00:31:41,920 --> 00:31:44,840 Speaker 1: thing off. I mean, to me, that is the quintessential 568 00:31:44,920 --> 00:31:49,080 Speaker 1: Doors song. It's bluesy, it's nocturnal, and it's just dripping 569 00:31:49,120 --> 00:31:52,640 Speaker 1: with doom dromanticism. That's one of my favorite songs of their. 570 00:31:52,720 --> 00:31:55,920 Speaker 2: Is I still like break on Through? That's like so 571 00:31:55,920 --> 00:31:56,960 Speaker 2: so proto punk? 572 00:31:57,200 --> 00:32:00,840 Speaker 1: Oh totally yeah. So according to legends, and Jim decided 573 00:32:00,840 --> 00:32:02,840 Speaker 1: to start a band right then and there on the beach, 574 00:32:02,920 --> 00:32:06,440 Speaker 1: but that's not one true. In truth, they already had 575 00:32:06,440 --> 00:32:10,640 Speaker 1: a band, Rick and the Ravens, Ray's college bar band. 576 00:32:11,040 --> 00:32:14,080 Speaker 1: This was admittedly not an ideal vehicle for Jim Morrison's 577 00:32:14,080 --> 00:32:18,800 Speaker 1: proto psychedelic lyrics, but they were there, and they were 578 00:32:18,800 --> 00:32:21,280 Speaker 1: a band, and they were actually a fairly legit one, 579 00:32:21,360 --> 00:32:25,000 Speaker 1: more than like history would have you believe. Rick and 580 00:32:25,040 --> 00:32:28,960 Speaker 1: the Ravens had previously released three promo singles, covers of 581 00:32:29,040 --> 00:32:33,360 Speaker 1: Soul Train, Big Bucketee, and Henrietta on a label called 582 00:32:33,400 --> 00:32:34,280 Speaker 1: Aural Records. 583 00:32:34,440 --> 00:32:37,560 Speaker 2: Those demos kind of actually whip like. They sound like 584 00:32:37,640 --> 00:32:40,360 Speaker 2: a band in Brooklyn that we would have seen or 585 00:32:40,400 --> 00:32:45,000 Speaker 2: played with. It's also really interesting hearing ray Man Xeric's voice, 586 00:32:45,240 --> 00:32:49,280 Speaker 2: because he sounds people assume that that's Jim singing on 587 00:32:49,360 --> 00:32:53,120 Speaker 2: those early things, so it's like immediately apparent having heard 588 00:32:53,160 --> 00:32:57,120 Speaker 2: the two how much Jim then learning to sing took 589 00:32:57,160 --> 00:32:58,440 Speaker 2: his cues from Ray. 590 00:32:58,880 --> 00:33:08,680 Speaker 5: Yeah, people, you knew meana now, so low down you budda, 591 00:33:09,600 --> 00:33:17,440 Speaker 5: welcome alown, rein out people, I'm on tig you around. 592 00:33:19,560 --> 00:33:22,960 Speaker 4: And now come on, every body, let's take a little chill. 593 00:33:32,280 --> 00:33:33,360 Speaker 2: Unfortunately it didn't help. 594 00:33:34,080 --> 00:33:36,640 Speaker 1: Yeah, no, no, no. These singles tanked, and by the 595 00:33:36,720 --> 00:33:39,480 Speaker 1: late summer of nineteen sixty five, Rick and the Ravens 596 00:33:39,520 --> 00:33:43,080 Speaker 1: were in Ray's estimation, going nowhere. Nothing was happening, no 597 00:33:43,200 --> 00:33:48,480 Speaker 1: record sales, no gigs. Descent descended on the Ravens tremendous sentence. 598 00:33:49,520 --> 00:33:52,880 Speaker 1: The rhythm section had departed, and the remaining members were 599 00:33:53,000 --> 00:33:57,240 Speaker 1: not especially receptive to Jim's mysterious poetry, which they viewed 600 00:33:58,120 --> 00:34:01,600 Speaker 1: as the height of pretension. What is a horse latitude? 601 00:34:05,080 --> 00:34:10,279 Speaker 1: All right, we're out of here. Ray was depressed and 602 00:34:10,400 --> 00:34:12,120 Speaker 1: he did what a lot of depressed people do in 603 00:34:12,160 --> 00:34:15,959 Speaker 1: the runout of options. He enrolled in a transcendental meditation class. 604 00:34:16,640 --> 00:34:19,280 Speaker 2: Another thing, another key point to this story that I love. 605 00:34:19,440 --> 00:34:21,759 Speaker 1: Yes, but this was two years before the Beatles. This 606 00:34:21,880 --> 00:34:24,680 Speaker 1: was he was an early adopter of transcendental meditation, which 607 00:34:24,760 --> 00:34:28,800 Speaker 1: I think is cool. Instead of finding enlightenment, Ray cross 608 00:34:28,920 --> 00:34:32,080 Speaker 1: paths with a drummer named John Densmore, who was welcomed 609 00:34:32,120 --> 00:34:35,840 Speaker 1: into the evolving lineup of Rick and the Ravens and 610 00:34:36,040 --> 00:34:40,200 Speaker 1: Densmore I love this. He would remember Ray from class 611 00:34:40,280 --> 00:34:44,040 Speaker 1: before Ray introduced himself as being like kind of a heckler. 612 00:34:44,800 --> 00:34:48,520 Speaker 1: Ray would angrily raise his hand and complain, no bliss, 613 00:34:49,000 --> 00:34:52,799 Speaker 1: no bliss because he the meditation wasn't working for him yet, 614 00:34:53,040 --> 00:34:55,440 Speaker 1: just screaming like he'd been ripped off, trying to get 615 00:34:55,480 --> 00:34:58,359 Speaker 1: his money back. Yeah, yeah, I love that. I love 616 00:34:58,400 --> 00:35:00,800 Speaker 1: that so much. This is why he's the best. With 617 00:35:00,920 --> 00:35:04,080 Speaker 1: a new drummer and Jim songs, this rapidly evolving version 618 00:35:04,080 --> 00:35:06,920 Speaker 1: of Rick and the Ravens recorded a demo disc consisting 619 00:35:06,960 --> 00:35:10,680 Speaker 1: of six original tracks Moonlight Drive, My Eyes Have Seen You, 620 00:35:10,960 --> 00:35:14,200 Speaker 1: Summer's Almost Gone, Hello, I Love You, Go, Insane, and 621 00:35:14,400 --> 00:35:18,319 Speaker 1: End of the Night. And these demos they're interesting. They 622 00:35:18,400 --> 00:35:21,360 Speaker 1: sound almost timid compared to what was to come in 623 00:35:21,440 --> 00:35:24,680 Speaker 1: the whole you know, bombastic sound that we associate with 624 00:35:24,719 --> 00:35:28,000 Speaker 1: the Doors. Labels agreed because the demo failed to attract 625 00:35:28,040 --> 00:35:30,560 Speaker 1: any kind of attention, and Rick and the Ravens fractured 626 00:35:30,640 --> 00:35:35,440 Speaker 1: for good, leaving behind only Ray, Jim and John Densmore. 627 00:35:35,640 --> 00:35:38,520 Speaker 1: And desperate to rebuild the ranks, Ray recruited another acquaintance 628 00:35:38,520 --> 00:35:42,600 Speaker 1: from the meditation class, a guitarist named Robbie Krieger, who 629 00:35:42,880 --> 00:35:45,680 Speaker 1: coincidentally had gone to school with Bob Weir and saw 630 00:35:45,760 --> 00:35:49,280 Speaker 1: him perform in the proto grateful dead group Leatherman Creeze 631 00:35:49,360 --> 00:35:52,480 Speaker 1: Uptown jug Champions. Did you know that I did not? 632 00:35:52,800 --> 00:35:54,680 Speaker 2: No, No, I did know that that was one of 633 00:35:54,760 --> 00:35:59,080 Speaker 2: the abortive dead lineups, which is a truly truly horrific 634 00:35:59,239 --> 00:36:02,160 Speaker 2: name in the an of music. 635 00:36:02,880 --> 00:36:07,200 Speaker 1: Yes, Robbie Krieger had played briefly with John Densmore in 636 00:36:07,239 --> 00:36:10,799 Speaker 1: a band called the Psychedelic Rangers, and this new group 637 00:36:10,840 --> 00:36:14,959 Speaker 1: would also draw inspiration from mind expansion, taking a cue 638 00:36:15,000 --> 00:36:17,800 Speaker 1: from the William Blake line by way of Elvis Huxley, 639 00:36:18,160 --> 00:36:21,879 Speaker 1: they called themselves the Doors, and they held their first 640 00:36:21,920 --> 00:36:25,200 Speaker 1: rehearsal at a friend's garage behind a Santa Monica bus depot, 641 00:36:26,080 --> 00:36:28,960 Speaker 1: and confirming my suspicion that this is in fact the 642 00:36:29,040 --> 00:36:33,240 Speaker 1: definitive Doors song, Moonlight Drive was the first number they played. 643 00:36:34,239 --> 00:36:38,200 Speaker 1: I guess. Robbie Kreeger brought out a bottleneck, like an 644 00:36:38,560 --> 00:36:42,239 Speaker 1: literal neck from a glass bottle that he broke and 645 00:36:43,360 --> 00:36:45,760 Speaker 1: no one in the band had ever heard bottleneck guitar before, 646 00:36:45,760 --> 00:36:47,800 Speaker 1: and it totally blew their minds. And that was the 647 00:36:47,880 --> 00:36:52,399 Speaker 1: moment that they coalesced. Raymnzeric would tell Gibson dot Com. 648 00:36:52,560 --> 00:36:56,880 Speaker 1: I knew instantly we found it that indefinable transcended something 649 00:36:56,960 --> 00:36:59,640 Speaker 1: that Kerouac refers to. We all looked at each other 650 00:36:59,719 --> 00:37:02,680 Speaker 1: and went, man, what have we just done? Oh my, 651 00:37:02,960 --> 00:37:05,320 Speaker 1: are we allowed to do that on this planet? That 652 00:37:05,520 --> 00:37:09,480 Speaker 1: was it Moonlight Drive. At that point everybody knew. We 653 00:37:09,600 --> 00:37:11,600 Speaker 1: all just sort of noded our heads and that was it. 654 00:37:12,120 --> 00:37:14,040 Speaker 1: That was the birth of the doors right there. 655 00:37:15,400 --> 00:37:18,520 Speaker 2: Yeah. I talk about this a little later, but I'll 656 00:37:18,520 --> 00:37:21,240 Speaker 2: just skip it when I get to that. Robbie Kreeger, 657 00:37:21,280 --> 00:37:23,880 Speaker 2: by his own admission, was not like a particularly agile 658 00:37:24,200 --> 00:37:26,920 Speaker 2: slide player, and this is tough in the era of 659 00:37:27,920 --> 00:37:31,520 Speaker 2: you know, Dwayne Ulman, but I find his use of 660 00:37:31,600 --> 00:37:34,359 Speaker 2: slide really interesting in Moonlight Mile. 661 00:37:34,480 --> 00:37:35,640 Speaker 1: It sounds like a theoman. 662 00:37:36,480 --> 00:37:38,800 Speaker 2: Yeah, because as anyone, just anyone who picks up a 663 00:37:38,840 --> 00:37:41,360 Speaker 2: guitar slide before they discover that it is like a 664 00:37:41,560 --> 00:37:44,120 Speaker 2: deeply unnatural way to play an instrument and is like 665 00:37:44,239 --> 00:37:47,759 Speaker 2: so ungodly frustrating. The coolest thing you can do with 666 00:37:47,880 --> 00:37:52,840 Speaker 2: it is just go woo whooo. But he does it 667 00:37:53,080 --> 00:37:56,719 Speaker 2: in another tune. Yeah, he does it in the end 668 00:37:56,760 --> 00:38:00,360 Speaker 2: of the night, and he does it. What's really interesting 669 00:38:00,400 --> 00:38:02,160 Speaker 2: about it is that he does what you're actually not 670 00:38:02,360 --> 00:38:05,239 Speaker 2: supposed to do when you play slide, which is like 671 00:38:05,640 --> 00:38:10,280 Speaker 2: waver around, like if you because a slide is straight, 672 00:38:11,080 --> 00:38:13,840 Speaker 2: you have to keep it straight and position it straight 673 00:38:13,960 --> 00:38:16,320 Speaker 2: on the neck to have it in tune. And what 674 00:38:16,440 --> 00:38:19,080 Speaker 2: he does is sort of hit those chords and tilt 675 00:38:19,160 --> 00:38:21,560 Speaker 2: it a little bit in either direction, which is kind 676 00:38:21,600 --> 00:38:24,560 Speaker 2: of like a pedal steel thing, and it gets this wavering, 677 00:38:24,960 --> 00:38:27,640 Speaker 2: sort of ambiguously pitched effect that almost sounds like a 678 00:38:27,640 --> 00:38:30,920 Speaker 2: Hawaiian steel guitar. It's just really refreshing to see some 679 00:38:31,080 --> 00:38:35,960 Speaker 2: guy from this era who's not like trying to be 680 00:38:36,280 --> 00:38:39,120 Speaker 2: Elmore James or whomever Whomstever. 681 00:38:52,120 --> 00:38:57,440 Speaker 4: Let's swell to the loop, Let's flow. 682 00:38:57,680 --> 00:38:58,520 Speaker 1: To the tip. 683 00:39:01,280 --> 00:39:03,759 Speaker 2: The Nayson Doors began practicing in the sun room of 684 00:39:03,800 --> 00:39:06,160 Speaker 2: a beach house that Ray had rented in Venice. He 685 00:39:06,239 --> 00:39:08,480 Speaker 2: somehow got the group to contribute to his rent by 686 00:39:08,520 --> 00:39:10,759 Speaker 2: passing it off as their rehearsal space that he just 687 00:39:10,840 --> 00:39:13,000 Speaker 2: happened to live in but it was right on the 688 00:39:13,120 --> 00:39:16,920 Speaker 2: sand and certainly stimulated their creativity. Thanks God, why did 689 00:39:16,960 --> 00:39:19,279 Speaker 2: you make me say that? Things got off to a 690 00:39:19,320 --> 00:39:21,840 Speaker 2: good start when they secured a contract with Columbia Records 691 00:39:21,880 --> 00:39:24,440 Speaker 2: based on the strength of their Aura Records demo, but 692 00:39:24,560 --> 00:39:27,600 Speaker 2: nothing ever came of the signing. Hit making producers like 693 00:39:27,800 --> 00:39:31,360 Speaker 2: Terry Melcher aka The Guy who Pissed Off, Charlie Manson 694 00:39:31,960 --> 00:39:35,200 Speaker 2: and future Beach Boy Bruce Johnston all passed on it, 695 00:39:36,000 --> 00:39:38,680 Speaker 2: and by the early spring of nineteen sixty six, the 696 00:39:38,719 --> 00:39:43,399 Speaker 2: band was unceremoniously dropped without representation or money. They took 697 00:39:43,400 --> 00:39:47,480 Speaker 2: a job with the production company Parthenon Pictures providing incidental 698 00:39:47,600 --> 00:39:51,760 Speaker 2: music for a Ford for the Ford Motor Company's customer 699 00:39:51,880 --> 00:39:58,759 Speaker 2: service training video titled Love Thy Customer, Madly ha. It 700 00:39:58,920 --> 00:40:02,200 Speaker 2: was not called that the Doors piled into a cramped 701 00:40:02,280 --> 00:40:05,480 Speaker 2: screening room at Los Angeles's Rampart Studios, where they viewed 702 00:40:05,520 --> 00:40:07,800 Speaker 2: the twenty five minute clip on a small monitor and 703 00:40:07,880 --> 00:40:11,160 Speaker 2: composed a soundtrack largely on the spot, jamming live as 704 00:40:11,239 --> 00:40:15,759 Speaker 2: the scenes flickered past. Myles Davis doing the same for Lacentiere, 705 00:40:15,920 --> 00:40:18,160 Speaker 2: Poor the Gallows. 706 00:40:20,200 --> 00:40:22,880 Speaker 1: This was not I didn't know that. Sorry, was that 707 00:40:22,920 --> 00:40:24,560 Speaker 1: too much of a deep cut? No? 708 00:40:25,080 --> 00:40:28,399 Speaker 2: Yeah, Myles did this for a French movie that came 709 00:40:28,440 --> 00:40:31,680 Speaker 2: out called Stairway. Do they translates to Stairway to the 710 00:40:31,760 --> 00:40:36,279 Speaker 2: Gallows or something Elevator to the Gallows he did in 711 00:40:36,440 --> 00:40:39,880 Speaker 2: fifty eight. It was a French crime, French crime thriller, 712 00:40:40,200 --> 00:40:45,040 Speaker 2: and it's really tremendous trumpet playing. You know that video 713 00:40:45,200 --> 00:40:48,080 Speaker 2: of that somebody like the one of the original mashups 714 00:40:48,160 --> 00:40:52,319 Speaker 2: of the Miles trumpet over LCD sound system. 715 00:40:52,719 --> 00:40:55,759 Speaker 1: Oh you yes, Yes? For New York I Love You. 716 00:40:55,960 --> 00:40:59,480 Speaker 2: Yes, That trumpet solo is from the Elevator to the 717 00:40:59,520 --> 00:41:03,480 Speaker 2: Gallows on track. It's superlative. But supposedly he recorded doing 718 00:41:03,520 --> 00:41:05,400 Speaker 2: the same thing. It's just like watching the film and 719 00:41:05,560 --> 00:41:07,960 Speaker 2: just playing free trumpet to it. 720 00:41:12,200 --> 00:41:15,640 Speaker 4: New York, I Love You, But You're freaking me out. 721 00:41:20,160 --> 00:41:23,200 Speaker 4: There's a ton of the twist, but we're fresh out 722 00:41:23,320 --> 00:41:32,000 Speaker 4: of shine, like a de holl that you hear through 723 00:41:32,080 --> 00:41:39,040 Speaker 4: you what New York, I Love You, but You're freaking 724 00:41:39,160 --> 00:41:39,640 Speaker 4: me out? 725 00:41:42,320 --> 00:41:46,560 Speaker 2: Anyway, that was not relevant. I apologize fragments of what 726 00:41:46,600 --> 00:41:49,320 Speaker 2: would later become. I looked at you Build me a 727 00:41:49,400 --> 00:41:52,200 Speaker 2: woman and the soft parade can be heard in the 728 00:41:52,200 --> 00:41:55,560 Speaker 2: finished product, and for this they earned the princely sum 729 00:41:55,640 --> 00:41:57,040 Speaker 2: of two hundred dollars. 730 00:41:57,640 --> 00:42:01,520 Speaker 1: Believe to be lost for decades of Thy Customer. 731 00:42:03,640 --> 00:42:06,280 Speaker 2: Was discovered in the UCLA film vaults in two thousand 732 00:42:06,280 --> 00:42:09,280 Speaker 2: and two and released on the twenty fourteen Doors Rarities 733 00:42:09,560 --> 00:42:19,360 Speaker 2: DVD R DASH Evolution Revolution That's fucking stupid. However, the 734 00:42:19,400 --> 00:42:22,440 Speaker 2: original soundtrack session tapes have yet to be located. 735 00:42:23,520 --> 00:42:27,520 Speaker 1: Bomber our evolution cost that's is that. 736 00:42:27,600 --> 00:42:30,440 Speaker 2: Dinsmore or like making those making those calls. 737 00:42:30,360 --> 00:42:33,279 Speaker 1: Or it's almost seems like like a rave But he 738 00:42:33,520 --> 00:42:35,360 Speaker 1: died before the DVD came out, so. 739 00:42:38,719 --> 00:42:38,799 Speaker 2: Well. 740 00:42:38,840 --> 00:42:41,400 Speaker 1: Aside from this two hundred dollars windfall, the group survived 741 00:42:41,440 --> 00:42:43,760 Speaker 1: in large part thanks to their residency at the London 742 00:42:43,920 --> 00:42:47,000 Speaker 1: fog a decidedly down at the Heels Dive on the 743 00:42:47,080 --> 00:42:50,680 Speaker 1: Sunset Strip. They played their nightly between nine pm and 744 00:42:50,800 --> 00:42:54,680 Speaker 1: two am from February to May nineteen sixty six, sharing 745 00:42:54,760 --> 00:42:58,239 Speaker 1: a bill with Ron Delane, the Go Go Dancer or 746 00:42:58,320 --> 00:43:01,120 Speaker 1: the Exotic Dancer, I've seen both. She would sometimes complain 747 00:43:01,200 --> 00:43:03,120 Speaker 1: about the music she was expected to go go to, 748 00:43:03,480 --> 00:43:09,120 Speaker 1: which is hilarious rather surelish like well imagine trying to 749 00:43:09,160 --> 00:43:11,960 Speaker 1: go go to like the End. I could do it. 750 00:43:14,280 --> 00:43:18,680 Speaker 1: There's a skill issue. It's it's like the steweze, sexy 751 00:43:18,760 --> 00:43:20,680 Speaker 1: party music, and then it's like, all of a sudden, 752 00:43:20,680 --> 00:43:24,880 Speaker 1: it's the end. Yeah. As Robbie Krieger told me in 753 00:43:24,920 --> 00:43:28,000 Speaker 1: twenty sixteen, by this time we'd gone through about twenty 754 00:43:28,120 --> 00:43:30,920 Speaker 1: or thirty different clubs have been rejected. We learned the 755 00:43:30,960 --> 00:43:32,920 Speaker 1: ropes and we said, listen, man, we could fill this 756 00:43:33,000 --> 00:43:35,759 Speaker 1: place up. And we did. The first night we got 757 00:43:35,760 --> 00:43:39,040 Speaker 1: all our friends to come from UCLA and it was packed. 758 00:43:39,600 --> 00:43:42,160 Speaker 1: So this guy hired us. Of course, the next day 759 00:43:42,239 --> 00:43:45,360 Speaker 1: nobody came. It was two people, but we slowly built 760 00:43:45,360 --> 00:43:48,719 Speaker 1: it up and this would essentially be the Doors. Say 761 00:43:48,760 --> 00:43:51,200 Speaker 1: it with me now Hamburg years to put it in 762 00:43:51,680 --> 00:43:54,760 Speaker 1: beetle terms, this is where the Doors hone their skills, 763 00:43:54,840 --> 00:43:58,480 Speaker 1: both musical and theatrical at the London Fog. The experience 764 00:43:58,600 --> 00:44:02,520 Speaker 1: gave the fundamentally very shy and reticent Jim Morrison confidence 765 00:44:02,600 --> 00:44:05,120 Speaker 1: to perform. For the first few weeks, he would actually 766 00:44:05,160 --> 00:44:07,720 Speaker 1: sing with his back to the audience facing the band. 767 00:44:07,880 --> 00:44:09,920 Speaker 1: They performed like they were in like a little circle, 768 00:44:10,000 --> 00:44:13,440 Speaker 1: like in the rehearsal room, an often absent crowd, gave 769 00:44:13,480 --> 00:44:16,000 Speaker 1: them the freedom to experiment and bowling them to introduced 770 00:44:16,080 --> 00:44:19,480 Speaker 1: daring original compositions alongside covers of early rock and R 771 00:44:19,520 --> 00:44:22,480 Speaker 1: and B standards by people like Chuck Berry, Muddy Waters 772 00:44:22,480 --> 00:44:26,560 Speaker 1: and Big Joe Williams. Unlike their bar band contemporaries, however, 773 00:44:26,760 --> 00:44:30,600 Speaker 1: the Doors brought jazz sensibilities to their set, exploding each 774 00:44:30,760 --> 00:44:35,080 Speaker 1: song and exploring every individual section with lengthy instrumental solos 775 00:44:35,400 --> 00:44:38,640 Speaker 1: in improvisational lyrical passages. And that's where you get stuff 776 00:44:38,760 --> 00:44:40,960 Speaker 1: like the End and Light My Fire, both of which 777 00:44:41,040 --> 00:44:44,520 Speaker 1: clocked in it over seven minutes. Later that summer, the 778 00:44:44,640 --> 00:44:47,279 Speaker 1: Doors would graduate from the London Fog to the much 779 00:44:47,360 --> 00:44:50,320 Speaker 1: more famous Whisky of Go Go, which is located just 780 00:44:50,360 --> 00:44:53,840 Speaker 1: a few doors down but light years away socially and culturally, 781 00:44:54,680 --> 00:44:57,040 Speaker 1: and the Whiskeys, where the Door's reputation began to take 782 00:44:57,120 --> 00:44:59,760 Speaker 1: off in a big way and they earned serious recognition 783 00:44:59,840 --> 00:45:02,880 Speaker 1: for their industry peers. My favorite story from this period 784 00:45:02,960 --> 00:45:05,560 Speaker 1: is when Van Morrison and them did a residency at 785 00:45:05,600 --> 00:45:08,600 Speaker 1: the Whiskey and the Doors were their support act, and 786 00:45:08,719 --> 00:45:11,360 Speaker 1: on their last night in town, the two Morrisons share 787 00:45:11,440 --> 00:45:14,640 Speaker 1: the stage and did a twenty minute version of Gloria, 788 00:45:14,800 --> 00:45:17,239 Speaker 1: which The Doors would later cover on record, and it's great. 789 00:45:17,960 --> 00:45:21,480 Speaker 2: They also decided that they were related, if I'm remember incorrectly, 790 00:45:21,640 --> 00:45:26,719 Speaker 2: and proceeded to get just like House together. But people 791 00:45:26,800 --> 00:45:29,440 Speaker 2: were talking about how Jim got a lot of his 792 00:45:29,560 --> 00:45:34,239 Speaker 2: stage moves actually from Van Morrison, which makes sense. But 793 00:45:35,080 --> 00:45:37,680 Speaker 2: the funniest thing that I read in that quote, which 794 00:45:37,680 --> 00:45:40,440 Speaker 2: I don't have at hand, was like Jim absorbed much 795 00:45:40,480 --> 00:45:44,759 Speaker 2: of Van stage presence, the theatricality, the height, you know, 796 00:45:44,920 --> 00:45:49,600 Speaker 2: and an aura of surly menace. I was like, imagine 797 00:45:49,680 --> 00:45:55,440 Speaker 2: finding all five foot four of little elfin Van Morrison menacing. 798 00:45:55,239 --> 00:45:59,360 Speaker 1: Doing the kick from the Last Walls. Yeah, yeah, oh. 799 00:45:59,400 --> 00:46:04,720 Speaker 2: Man again Paul Rothschild quote for the Ages. He recalled 800 00:46:04,800 --> 00:46:07,439 Speaker 2: to the Bay Area music magazine BAM in nineteen eighty 801 00:46:07,480 --> 00:46:09,719 Speaker 2: one that the first time he saw the Doors, the 802 00:46:09,760 --> 00:46:11,520 Speaker 2: group was playing at the Whiskey on the same bill 803 00:46:11,560 --> 00:46:14,359 Speaker 2: with Love I believe. I meant Electra Records founder Jack 804 00:46:14,440 --> 00:46:16,440 Speaker 2: Holsman and his then wife Nina, and we saw the 805 00:46:16,480 --> 00:46:19,360 Speaker 2: first set. I thought to myself, my god, Jack and 806 00:46:19,440 --> 00:46:22,879 Speaker 2: Nina have lost their mind. These guys suck. I caught 807 00:46:22,920 --> 00:46:23,719 Speaker 2: a horrible show. 808 00:46:25,360 --> 00:46:29,040 Speaker 1: Well, in his defense, Jack Holtzman, the founder of Electro Records, 809 00:46:29,040 --> 00:46:32,080 Speaker 1: who had eventually signed them to the record deal, had 810 00:46:32,160 --> 00:46:35,960 Speaker 1: to see them, I think four times before he was 811 00:46:36,400 --> 00:46:41,359 Speaker 1: suitably convinced that they had anything of value. What an era, 812 00:46:42,160 --> 00:46:48,879 Speaker 1: What a tremendous time. So happy for them. The Doors 813 00:46:48,920 --> 00:46:51,520 Speaker 1: would ultimately get fired from the Whiskey in August nineteen 814 00:46:51,600 --> 00:46:55,440 Speaker 1: sixty six after Jim did an especially graphic, obscenity laden 815 00:46:55,560 --> 00:46:57,880 Speaker 1: version of the end, which got the club owner bent 816 00:46:57,960 --> 00:46:58,399 Speaker 1: out of shaw. 817 00:46:58,480 --> 00:47:00,840 Speaker 2: He used to like rub his he like grubbed his 818 00:47:00,920 --> 00:47:03,840 Speaker 2: crotch all over the mic stand and would like visibly 819 00:47:04,160 --> 00:47:06,360 Speaker 2: become too messent on stage, right like. 820 00:47:06,440 --> 00:47:08,600 Speaker 1: That was one of his bits that I don't know. 821 00:47:09,080 --> 00:47:10,680 Speaker 1: I haven't heard that I read. 822 00:47:10,880 --> 00:47:13,320 Speaker 2: I read no one here gets out alive in like 823 00:47:13,440 --> 00:47:18,000 Speaker 2: fits and starts on a couch in somebody else's home. 824 00:47:19,280 --> 00:47:22,239 Speaker 2: It was somebody else's copy, So my facts may not 825 00:47:22,360 --> 00:47:25,040 Speaker 2: be correct, but I remember that sticking out to me 826 00:47:25,280 --> 00:47:26,719 Speaker 2: as a gross and weird thing. 827 00:47:27,280 --> 00:47:30,480 Speaker 1: May I ask, why were you reading no one here 828 00:47:30,600 --> 00:47:34,000 Speaker 1: gets out alive in fits and starts on somebody else's 829 00:47:34,120 --> 00:47:35,399 Speaker 1: couch in somebody else's house. 830 00:47:36,040 --> 00:47:38,839 Speaker 2: I mean, you know you ever get bored in when 831 00:47:38,880 --> 00:47:41,239 Speaker 2: you're in college and you don't really have anything to do, 832 00:47:41,480 --> 00:47:43,640 Speaker 2: but you're smoking a lot of weeds, so you're sitting 833 00:47:43,640 --> 00:47:46,680 Speaker 2: on couches a lot and just reach for whatever's at hand. 834 00:47:47,440 --> 00:47:49,560 Speaker 2: It is an entertaining book, although I should mention that 835 00:47:49,640 --> 00:47:51,320 Speaker 2: since I've been citing it so much, it is like 836 00:47:51,640 --> 00:47:54,799 Speaker 2: widely debunked and upon these days. 837 00:47:54,840 --> 00:47:57,440 Speaker 1: Yeah, very much so yeah, yeah, yeah, but yeah, I 838 00:47:57,480 --> 00:48:00,920 Speaker 1: guess Jim one night debuted the version of the End 839 00:48:01,000 --> 00:48:02,719 Speaker 1: that we all now know and love, with the whole 840 00:48:02,840 --> 00:48:05,000 Speaker 1: edible section in the middle. But he did that for 841 00:48:05,040 --> 00:48:06,640 Speaker 1: the first time on stage at the Whiskey A go 842 00:48:06,800 --> 00:48:09,080 Speaker 1: go with the whole you know father, I want to 843 00:48:09,160 --> 00:48:13,680 Speaker 1: kill you mother, et cetera. And the funniest part was 844 00:48:14,040 --> 00:48:16,800 Speaker 1: Ray knew where he was going with it fairly quickly, 845 00:48:16,960 --> 00:48:20,080 Speaker 1: and he was like, oh man, oh this is this 846 00:48:20,239 --> 00:48:22,319 Speaker 1: is not going to end well. And it didn't. They 847 00:48:22,400 --> 00:48:25,800 Speaker 1: were fired, but luckily less than two weeks before this firing, 848 00:48:25,920 --> 00:48:30,200 Speaker 1: Electro Records had signed them, and their acrimonious dismissal from 849 00:48:30,200 --> 00:48:34,360 Speaker 1: the Whiskey didn't matter. Yeah, didn't matter at all. And 850 00:48:34,480 --> 00:48:37,120 Speaker 1: with that they hit the studio just down the road 851 00:48:37,280 --> 00:48:40,600 Speaker 1: at sunset sound to be precise, which is great. Everything 852 00:48:40,640 --> 00:48:42,480 Speaker 1: in the early Doors story just seems to take place 853 00:48:42,520 --> 00:48:45,239 Speaker 1: with them like a ten block radius. What an era. 854 00:48:46,800 --> 00:48:48,640 Speaker 2: Yeah, I mean, you know, I sn't a lot, but 855 00:48:48,760 --> 00:48:52,400 Speaker 2: like those bold stuff you know to do in a 856 00:48:52,440 --> 00:48:53,040 Speaker 2: live setting. 857 00:48:54,080 --> 00:48:56,680 Speaker 1: Oh yeah, and an arrow when Lenny Bruce was getting 858 00:48:56,719 --> 00:49:00,640 Speaker 1: hauled off for using probably less offense of words in 859 00:49:00,719 --> 00:49:05,839 Speaker 1: a lot of cases. Yeah, we're gonna take a quick break, 860 00:49:06,120 --> 00:49:08,520 Speaker 1: but we'll be right back with more too much information 861 00:49:08,719 --> 00:49:23,080 Speaker 1: in just a moment. So let's kick off the recording 862 00:49:23,120 --> 00:49:26,360 Speaker 1: section with a bit of studio session nerdery. Instead of 863 00:49:26,400 --> 00:49:30,040 Speaker 1: a bassist, the Doors famously relied on raymn Xeric's left 864 00:49:30,120 --> 00:49:32,200 Speaker 1: hand to hold down the low end with the Fender 865 00:49:32,320 --> 00:49:37,040 Speaker 1: Rhodes piano keyboard bass. This role originally fell to him 866 00:49:37,040 --> 00:49:39,359 Speaker 1: at a necessity, he said, we auditioned quite a few 867 00:49:39,400 --> 00:49:42,080 Speaker 1: bass players. We auditioned one bass player and we sounded 868 00:49:42,160 --> 00:49:44,879 Speaker 1: like the rolling Stones. Then we auditioned another bass player, 869 00:49:44,920 --> 00:49:47,600 Speaker 1: and we sounded like the animals. Feeling like they'd come 870 00:49:47,640 --> 00:49:50,960 Speaker 1: across as imitators, they decided to just do without a bassist. 871 00:49:51,600 --> 00:49:54,160 Speaker 1: As John Densmore wrote in his memoir, adding a bass 872 00:49:54,239 --> 00:49:56,279 Speaker 1: made it sound like every other rock and roll band. 873 00:49:56,680 --> 00:49:59,320 Speaker 1: We were determined to do almost anything to sound different, 874 00:50:00,000 --> 00:50:02,000 Speaker 1: and this absence of a bass became a crucial element 875 00:50:02,080 --> 00:50:05,200 Speaker 1: of the Doors Live sounds. But producer Paul Rothschild, who 876 00:50:05,400 --> 00:50:08,600 Speaker 1: oversaw sessions for the debut album, felt that the recordings 877 00:50:08,680 --> 00:50:12,800 Speaker 1: needed a stronger bass attack than the occasionally mushy Fender 878 00:50:12,880 --> 00:50:17,240 Speaker 1: Rhodes piano bass could provide. To assist, he quietly hired 879 00:50:17,320 --> 00:50:20,680 Speaker 1: Larry Nektel of the ubiquitous gang of La session players 880 00:50:20,760 --> 00:50:23,000 Speaker 1: known as the Wrecking Crew to stick in the sound. 881 00:50:23,480 --> 00:50:25,640 Speaker 1: You know. The Wrecking Crew is a whole documentary about them. 882 00:50:25,719 --> 00:50:29,759 Speaker 1: They played on some phenomenal number of number one hit 883 00:50:29,880 --> 00:50:34,280 Speaker 1: songs during this era. Beach Boys, Pet Sounds, Phil Spector's Stuff, 884 00:50:34,520 --> 00:50:37,719 Speaker 1: Mama's and the Papas, The Birds, Elvis, Frank Sinatra, Blah 885 00:50:37,760 --> 00:50:39,880 Speaker 1: Blah blah blah, list goes on, Beak goes on, and 886 00:50:39,960 --> 00:50:42,720 Speaker 1: the list goes on. Nektel, at this point had already 887 00:50:42,719 --> 00:50:46,000 Speaker 1: appeared on hits by The Beach Boys, Elvis, and the Birds. 888 00:50:47,040 --> 00:50:51,280 Speaker 1: He only dubbed six of the Doors eleven tracks, Soul Kitchen, 889 00:50:51,440 --> 00:50:54,040 Speaker 1: twenty Century, Fox Light, My Fire, I Looked at You 890 00:50:54,600 --> 00:50:57,200 Speaker 1: and take it as it comes. Is that six I 891 00:50:57,239 --> 00:50:58,319 Speaker 1: don't know how tweeted. 892 00:50:58,040 --> 00:51:01,719 Speaker 2: Us if you're keeping of any of this, h yeah, 893 00:51:01,840 --> 00:51:03,479 Speaker 2: I think Kreeker said he did the rest. 894 00:51:03,600 --> 00:51:05,640 Speaker 1: But you know, that's one of those. It's one of those. 895 00:51:05,920 --> 00:51:08,160 Speaker 2: It's one of those things that people have just like constantly. 896 00:51:08,719 --> 00:51:10,920 Speaker 1: No base in the doors, like no base in the doors, 897 00:51:11,000 --> 00:51:13,240 Speaker 1: no base in the doors. Did you know the doors 898 00:51:13,280 --> 00:51:14,920 Speaker 1: don't have a bass player in ray Manzur. He just 899 00:51:14,960 --> 00:51:16,359 Speaker 1: covered all the parts of his left hand. 900 00:51:17,160 --> 00:51:20,400 Speaker 2: Now in the studio, they had a real basis on 901 00:51:20,520 --> 00:51:24,080 Speaker 2: all of it. But it is cool, it's extremely cool. 902 00:51:24,120 --> 00:51:26,320 Speaker 2: I mean that the if it weren't for him, I 903 00:51:26,400 --> 00:51:28,520 Speaker 2: feel like that keyboard probably would have faded out of 904 00:51:28,600 --> 00:51:29,440 Speaker 2: existence because it. 905 00:51:29,520 --> 00:51:30,840 Speaker 1: Was a real outlier. 906 00:51:30,920 --> 00:51:35,480 Speaker 2: I mean it was basically just the base register of 907 00:51:35,600 --> 00:51:37,360 Speaker 2: a of a like full size keyboard. 908 00:51:37,880 --> 00:51:39,080 Speaker 1: It's weird, and he was. 909 00:51:39,239 --> 00:51:43,400 Speaker 2: He found it via some other band, I believe, like 910 00:51:43,520 --> 00:51:46,080 Speaker 2: it was on stage as part of some other bands equipment. 911 00:51:46,280 --> 00:51:48,640 Speaker 1: It was the Seeds. I think it was the Seeds 912 00:51:49,000 --> 00:51:53,040 Speaker 1: and early proto psych bands. I'm almost certain it was 913 00:51:53,120 --> 00:51:53,560 Speaker 1: the Seeds. 914 00:51:54,160 --> 00:51:57,080 Speaker 2: Yeah, so uh yeah, it's great. I mean, you know, 915 00:51:57,320 --> 00:52:00,160 Speaker 2: it goes a long way too. Because like he, you know, 916 00:52:00,200 --> 00:52:02,319 Speaker 2: when you're doing so much active stuff with your right 917 00:52:02,360 --> 00:52:04,240 Speaker 2: hand is I'm sure, I don't know why I'm explaining 918 00:52:04,280 --> 00:52:06,799 Speaker 2: this to you, but like you, obviously you get into 919 00:52:06,880 --> 00:52:09,200 Speaker 2: more of a I'm going to play the same repetitive 920 00:52:09,239 --> 00:52:11,279 Speaker 2: pattern with my left so I don't have to think 921 00:52:11,320 --> 00:52:14,640 Speaker 2: as much, and that's what gives it that like droney 922 00:52:14,800 --> 00:52:17,040 Speaker 2: cyclical trance like quality. 923 00:52:17,640 --> 00:52:20,000 Speaker 1: Yeah, I mean, I always think of, for some reason, 924 00:52:20,040 --> 00:52:21,759 Speaker 1: the one that really comes to mind, although I think 925 00:52:21,800 --> 00:52:23,920 Speaker 1: they also had a bass player thicking this up too. 926 00:52:24,000 --> 00:52:27,839 Speaker 1: His writers on the storm Doom Doom Doom, Doom, Doom, Doom, Doom, Doom, Doom, 927 00:52:27,880 --> 00:52:28,839 Speaker 1: Doom doom doom. 928 00:52:29,400 --> 00:52:31,560 Speaker 2: Yeah, that was the one that Elvis's bass players on, 929 00:52:32,400 --> 00:52:36,919 Speaker 2: Jerry Osborne I think, no, no, she had to later. 930 00:52:37,560 --> 00:52:40,960 Speaker 1: Yeah, he's got a word name, yeah, Jerry Chef something 931 00:52:41,040 --> 00:52:41,560 Speaker 1: like that. Yeah. 932 00:52:42,640 --> 00:52:46,799 Speaker 2: Writers, that's one of my all time least favorite couplets too. 933 00:52:48,360 --> 00:52:51,279 Speaker 2: The uh there's a killer on the road. His brain 934 00:52:51,360 --> 00:52:55,879 Speaker 2: is squirming like a toad. Okay, man who's. 935 00:52:55,640 --> 00:52:58,120 Speaker 1: Lows were lower Lou Reed's or Jim Morrison. 936 00:52:58,040 --> 00:53:05,800 Speaker 2: Lose absolutely, I'm sorry, although men of equal self regard, 937 00:53:06,120 --> 00:53:08,759 Speaker 2: I would vent I would say I you know, I'm 938 00:53:08,800 --> 00:53:12,279 Speaker 2: gonna say Lou's worse because Jim never for all of 939 00:53:12,360 --> 00:53:16,320 Speaker 2: his poetic it was never like I studied with Delmore Schwartz, 940 00:53:16,560 --> 00:53:19,319 Speaker 2: like one of the greatest unknown literary blah blah blah blah. 941 00:53:19,520 --> 00:53:22,279 Speaker 2: He wasn't up his own as much. He didn't have 942 00:53:22,360 --> 00:53:26,600 Speaker 2: the high lutin pretensions that Lou did. Having studied with 943 00:53:26,680 --> 00:53:30,080 Speaker 2: Delmore Schwartz of Syracuse University like that was something. 944 00:53:29,960 --> 00:53:30,840 Speaker 1: To be proud of. 945 00:53:31,840 --> 00:53:35,279 Speaker 2: At least Jim was just like off the dome like 946 00:53:35,440 --> 00:53:38,480 Speaker 2: Toad Road Strode mode. 947 00:53:40,000 --> 00:53:41,520 Speaker 1: You know, hit, We're done. 948 00:53:41,520 --> 00:53:46,920 Speaker 2: I'm not doing another take, as Lou was like, oh yeah, well, 949 00:53:46,960 --> 00:53:49,279 Speaker 2: this just belongs in the proud lineage of you know, 950 00:53:49,440 --> 00:53:54,040 Speaker 2: pre prebeat literary icon. Delmore Schwartz, a guy who no 951 00:53:54,120 --> 00:53:55,880 Speaker 2: one would ever know about if it weren't for me 952 00:53:56,040 --> 00:53:58,040 Speaker 2: saying his name is the third sentence and all the 953 00:53:58,120 --> 00:54:03,960 Speaker 2: interviews Delmo Schwartz out here catching strays in this podcast 954 00:54:04,000 --> 00:54:07,480 Speaker 2: about The Doors Sorry the estate of Delmo Shortz. 955 00:54:09,600 --> 00:54:13,640 Speaker 1: So the session based player Larry Nechtell is not credited 956 00:54:13,719 --> 00:54:16,120 Speaker 1: or was not credited at the time at least for 957 00:54:16,239 --> 00:54:19,120 Speaker 1: his work on The Door's debut, and it was actually 958 00:54:19,200 --> 00:54:21,719 Speaker 1: many years before the extent of his contributions was known, 959 00:54:22,480 --> 00:54:24,719 Speaker 1: and some have criticized the Doors over the years for 960 00:54:24,800 --> 00:54:27,520 Speaker 1: seemingly airbrushing this guy out of the band's story, but 961 00:54:27,680 --> 00:54:31,560 Speaker 1: John Densmore clarified this in a twenty fifteen Facebook post. 962 00:54:31,640 --> 00:54:35,040 Speaker 1: He said Larry Nektel wasn't credited because he duplicated Rai's 963 00:54:35,160 --> 00:54:38,200 Speaker 1: left hand bass lines exactly. He didn't record with us 964 00:54:38,239 --> 00:54:40,839 Speaker 1: on the tracks he overdubbed. Later. This was a time 965 00:54:40,880 --> 00:54:44,440 Speaker 1: before Moog synthesizers and Paul Rothschild. The producer felt correctly, 966 00:54:44,760 --> 00:54:47,880 Speaker 1: the raised lines needed some more sonic punch from a 967 00:54:48,040 --> 00:54:52,360 Speaker 1: string plucked in addition to a keyboard. And there's the 968 00:54:52,640 --> 00:54:55,680 Speaker 1: Classic Albums documentary where they're kind of going track by 969 00:54:55,760 --> 00:55:01,440 Speaker 1: track and they play raised keyboard base part and the 970 00:55:01,560 --> 00:55:05,879 Speaker 1: actual bass part individually and they're identical, and then they 971 00:55:06,000 --> 00:55:07,680 Speaker 1: play them both together at the same time and you 972 00:55:07,840 --> 00:55:10,640 Speaker 1: can't tell them apart. So yeah, it really does. And 973 00:55:10,800 --> 00:55:11,680 Speaker 1: also more of a. 974 00:55:11,719 --> 00:55:14,640 Speaker 2: Maintenance thing do They didn't They didn't credit session players 975 00:55:14,680 --> 00:55:16,600 Speaker 2: on like any of this. I mean, that's the whole 976 00:55:16,640 --> 00:55:19,399 Speaker 2: thing with Motown Band is that everyone everyone flipped over 977 00:55:19,440 --> 00:55:21,400 Speaker 2: the Motown Band and they were never listed. 978 00:55:22,200 --> 00:55:25,520 Speaker 1: Uh. Yeah, I mean I think it's comes down to 979 00:55:25,600 --> 00:55:26,439 Speaker 1: the attack. 980 00:55:26,160 --> 00:55:29,600 Speaker 2: Of the keyboard because roads they work because they the 981 00:55:29,680 --> 00:55:34,440 Speaker 2: hammers rather than hitting strings hit metallic times, and signals 982 00:55:34,480 --> 00:55:38,800 Speaker 2: from that are picked up from uh like a pickup basically. 983 00:55:39,760 --> 00:55:43,520 Speaker 2: But because of that, their attack can get a little indistinct. 984 00:55:43,560 --> 00:55:45,680 Speaker 2: I mean, you don't really think of roads as being 985 00:55:45,719 --> 00:55:49,640 Speaker 2: a particularly like punchy percussive instrument. But yeah, I mean 986 00:55:49,680 --> 00:55:51,600 Speaker 2: you can hear the you can hear the blend. I 987 00:55:51,640 --> 00:55:58,439 Speaker 2: guess better if you're listening invested indoors live bootlegs, which 988 00:55:58,480 --> 00:56:00,600 Speaker 2: I I'm sure there are people out there who are, 989 00:56:02,080 --> 00:56:03,080 Speaker 2: he said politely. 990 00:56:05,160 --> 00:56:07,799 Speaker 1: I love this though. Apparently ray Man Zeric's keyboard bass 991 00:56:07,920 --> 00:56:11,680 Speaker 1: was paid for by guitarist Robbie Kreeger's dad, who kind 992 00:56:11,680 --> 00:56:13,320 Speaker 1: of had a lot of money, and he said he 993 00:56:13,360 --> 00:56:15,200 Speaker 1: would only do it if the band promised to pay 994 00:56:15,280 --> 00:56:17,440 Speaker 1: him back, and he drew up this whole legal document, 995 00:56:17,560 --> 00:56:20,840 Speaker 1: but of course he didn't care. And Robbie's dad was 996 00:56:21,000 --> 00:56:25,200 Speaker 1: like the cutest doors fan, Like he said, he used 997 00:56:25,200 --> 00:56:28,120 Speaker 1: to love picking up hitchhikers just to be able to 998 00:56:28,239 --> 00:56:30,879 Speaker 1: like brag to them that he was Robbie Creeker's dad. 999 00:56:31,400 --> 00:56:35,200 Speaker 1: It's just like the sweetest thing and then he murdered them. Yeah. 1000 00:56:35,520 --> 00:56:39,839 Speaker 2: Yeah, Robbie Creeker's dad was the Zodiac killer. 1001 00:56:40,200 --> 00:56:40,439 Speaker 1: Yeah. 1002 00:56:42,280 --> 00:56:43,640 Speaker 2: But you know, one of the things I love about 1003 00:56:43,680 --> 00:56:47,000 Speaker 2: raymin Zerk is that, despite having this live setup, the 1004 00:56:47,040 --> 00:56:49,440 Speaker 2: whole range of his influences on keyboard show up. I 1005 00:56:49,480 --> 00:56:53,800 Speaker 2: mean they have tac piano and stuff alongside the roads, 1006 00:56:53,800 --> 00:56:55,040 Speaker 2: alongside the vox organ. 1007 00:56:55,480 --> 00:56:57,000 Speaker 1: I just love his work in the studio. 1008 00:56:57,080 --> 00:56:58,800 Speaker 2: Man. And this is also a guy who was like 1009 00:56:59,520 --> 00:57:04,080 Speaker 2: producer X, you know, the pioneering La punk band X. 1010 00:57:04,280 --> 00:57:09,719 Speaker 2: Like he was really a consummate investigator of sounds and 1011 00:57:09,880 --> 00:57:13,080 Speaker 2: music in a way that not a lot of guys 1012 00:57:13,120 --> 00:57:13,279 Speaker 2: of his. 1013 00:57:13,400 --> 00:57:14,440 Speaker 1: Stature would be. 1014 00:57:15,920 --> 00:57:19,560 Speaker 2: Alabama song also features a marxophone, which is a kind 1015 00:57:19,600 --> 00:57:24,040 Speaker 2: of zither that I didn't know existed, But he also 1016 00:57:24,160 --> 00:57:27,240 Speaker 2: played that, which is cool. I was doing some digging 1017 00:57:27,280 --> 00:57:29,600 Speaker 2: around the keyboard forums trying to find some other defining 1018 00:57:29,640 --> 00:57:31,520 Speaker 2: parts of his style, and one guy was like, oh, 1019 00:57:31,560 --> 00:57:34,760 Speaker 2: everything's harmonized in thirds, Like all of his voicings are 1020 00:57:34,880 --> 00:57:40,520 Speaker 2: almost always harmonized in thirds, which is interesting because a 1021 00:57:40,600 --> 00:57:43,960 Speaker 2: lot of jazz at that point was chordal voicings like 1022 00:57:44,000 --> 00:57:46,680 Speaker 2: the classic you know, Miles Davis harmony is a lot 1023 00:57:46,680 --> 00:57:49,920 Speaker 2: of chordal voicings, and Keith Jarrett used a lot of 1024 00:57:50,760 --> 00:57:54,200 Speaker 2: thirdless voicings actually around that time, a lot of Suss 1025 00:57:54,240 --> 00:57:57,360 Speaker 2: chords on piano. So it's interesting that it would have 1026 00:57:57,440 --> 00:58:00,920 Speaker 2: sounded different from a lot of the prevailing influences that 1027 00:58:01,000 --> 00:58:03,400 Speaker 2: Manserk was probably picking up on. And I think some 1028 00:58:03,520 --> 00:58:05,080 Speaker 2: of that comes from me. He was like a he 1029 00:58:05,240 --> 00:58:07,360 Speaker 2: like studied a lot of Bach when he was a kid. 1030 00:58:07,480 --> 00:58:07,600 Speaker 1: Right. 1031 00:58:07,720 --> 00:58:10,760 Speaker 2: As far as the two and three part inventions and 1032 00:58:10,800 --> 00:58:12,120 Speaker 2: the counterpoint. 1033 00:58:11,720 --> 00:58:14,680 Speaker 1: Oh absolutely that was a big I think the intro 1034 00:58:14,880 --> 00:58:18,560 Speaker 1: to let My Fire I think was based on Uh. 1035 00:58:18,880 --> 00:58:20,680 Speaker 1: I think he said it's a version. It's like, yeah, 1036 00:58:20,720 --> 00:58:21,480 Speaker 1: circle of fifths. 1037 00:58:21,600 --> 00:58:23,560 Speaker 2: Yeah, it's like just going around the circle of fifths 1038 00:58:23,600 --> 00:58:25,280 Speaker 2: in like classic Bach counterpoint. 1039 00:58:25,760 --> 00:58:25,960 Speaker 1: Yeah. 1040 00:58:26,360 --> 00:58:29,400 Speaker 2: I just love the Again, certain parts of that movie 1041 00:58:29,480 --> 00:58:31,880 Speaker 2: are so burned into my brain that when they are 1042 00:58:32,200 --> 00:58:35,200 Speaker 2: does the writing Light my Fire beat, it's Kevin Dillon 1043 00:58:35,280 --> 00:58:37,760 Speaker 2: being like little chat chaw beat should do that justice? 1044 00:58:38,160 --> 00:58:40,800 Speaker 2: Or does a little Bosanova beat should do that justice? 1045 00:58:44,040 --> 00:58:46,400 Speaker 1: Well. When the Doors convened in Sunset Sound to record 1046 00:58:46,480 --> 00:58:49,520 Speaker 1: their debut in August of nineteen sixty six. Moonlight Drive 1047 00:58:49,640 --> 00:58:52,400 Speaker 1: seemed like a very appropriate starting point because again that 1048 00:58:52,520 --> 00:58:55,040 Speaker 1: was the song that Jim first sang to Ray during 1049 00:58:55,080 --> 00:58:57,720 Speaker 1: their famous beach meeting, and it was the first song 1050 00:58:57,880 --> 00:59:01,080 Speaker 1: that the foursome ever played together, And so they did 1051 00:59:01,280 --> 00:59:02,880 Speaker 1: try to do a version of this for their debut 1052 00:59:03,320 --> 00:59:06,480 Speaker 1: s Rabbi Krieger told me in twenty sixteen, but we 1053 00:59:06,560 --> 00:59:08,480 Speaker 1: went to record the first album, The first one we 1054 00:59:08,560 --> 00:59:11,680 Speaker 1: did was Moonlight Drive, but they were inhibited by this 1055 00:59:11,800 --> 00:59:14,840 Speaker 1: unfamiliar studio setting and not unable to capture the magic 1056 00:59:14,960 --> 00:59:18,440 Speaker 1: of their first rehearsal. He said it sounded too mysterious 1057 00:59:18,480 --> 00:59:20,720 Speaker 1: and kind of dark. So we arranged it for the 1058 00:59:20,760 --> 00:59:23,400 Speaker 1: second album, nineteen sixty seven Strange Days, and made it 1059 00:59:23,440 --> 00:59:26,959 Speaker 1: a little more wild. This original version of Moonlight Drive, 1060 00:59:27,440 --> 00:59:30,200 Speaker 1: which Kreeger dubs quote the very first recording we ever 1061 00:59:30,280 --> 00:59:32,800 Speaker 1: did as the Doors, was shelved and lost for a 1062 00:59:32,880 --> 00:59:36,160 Speaker 1: time before surfacing on a box set in nineteen ninety seven. 1063 00:59:36,560 --> 00:59:38,040 Speaker 1: Should we punched that in here. 1064 00:59:46,200 --> 00:59:52,480 Speaker 4: Littim to the Please Climb through the Time. 1065 00:59:54,240 --> 00:59:59,840 Speaker 5: Panel Train, the Evening Plan, the City Sleeves to. 1066 01:00:02,880 --> 01:00:04,920 Speaker 1: The second song they worked on, I think that same day, 1067 01:00:05,000 --> 01:00:07,360 Speaker 1: the first day of the sessions was Indian Summer, which 1068 01:00:07,440 --> 01:00:09,160 Speaker 1: also failed to make the cut. I don't really know 1069 01:00:09,240 --> 01:00:11,600 Speaker 1: that one. It wasn't that we thought they weren't good 1070 01:00:11,640 --> 01:00:13,360 Speaker 1: enough for the first album, but we had to pick 1071 01:00:13,440 --> 01:00:15,800 Speaker 1: and choose. Robbie said, a lot of good ones didn't 1072 01:00:15,840 --> 01:00:18,120 Speaker 1: make it. A re recorded version would be included on 1073 01:00:18,240 --> 01:00:23,840 Speaker 1: nineteen seventy's Morrison Hotel. Answered my own question there. You 1074 01:00:23,960 --> 01:00:26,160 Speaker 1: may have noticed that the period between Jim and Ray's 1075 01:00:26,240 --> 01:00:28,880 Speaker 1: meeting on the Venice Beach, assembling with the rest of 1076 01:00:28,920 --> 01:00:32,280 Speaker 1: the band members, earning and losing a Columbia Records contract, 1077 01:00:32,760 --> 01:00:35,840 Speaker 1: getting a Sunset Strip residency, and then getting another better 1078 01:00:35,920 --> 01:00:38,240 Speaker 1: sunset strip residency at the hottest club on the planet, 1079 01:00:38,280 --> 01:00:40,880 Speaker 1: the Whisky of Go Go, and also getting a contract 1080 01:00:40,920 --> 01:00:43,880 Speaker 1: with Electra Records, and going into the studio and recording 1081 01:00:43,920 --> 01:00:49,040 Speaker 1: their debut all took place within about twelve months. It's weird, 1082 01:00:49,640 --> 01:00:51,120 Speaker 1: yeah't very weird. 1083 01:00:51,240 --> 01:00:52,880 Speaker 2: Oh do we get into the Laurel Canyon thing? 1084 01:00:52,960 --> 01:00:54,320 Speaker 1: Now? Oh take us there. 1085 01:00:54,440 --> 01:00:57,880 Speaker 2: Well, that timeline, this compressed chronology is very funny because 1086 01:00:58,840 --> 01:01:01,720 Speaker 2: you know, one of this this text that we constantly 1087 01:01:01,800 --> 01:01:04,640 Speaker 2: referred to on this show, weird echoes in the Canyon 1088 01:01:04,760 --> 01:01:08,480 Speaker 2: by David McGowan puts Jim Morrison as one of these 1089 01:01:09,040 --> 01:01:15,200 Speaker 2: alleged military industrial plants who destabilized. The whole thrust of 1090 01:01:15,240 --> 01:01:17,120 Speaker 2: the book. If you haven't already heard us talk about 1091 01:01:17,120 --> 01:01:20,000 Speaker 2: it six to seven times, is that much of the 1092 01:01:20,080 --> 01:01:24,280 Speaker 2: hippie movement in the what would come to be defined 1093 01:01:24,280 --> 01:01:27,840 Speaker 2: as the Hippie movement was spurred on by a startlingly 1094 01:01:28,000 --> 01:01:32,040 Speaker 2: concentrated amount of the sons and daughters of the American 1095 01:01:32,160 --> 01:01:39,160 Speaker 2: military industrial complex congregating in LA and the posit The 1096 01:01:40,160 --> 01:01:43,920 Speaker 2: what he what McCowan presupposes is that this was a 1097 01:01:44,040 --> 01:01:48,640 Speaker 2: deliberate move to start focusing on and all these vacuous, 1098 01:01:48,800 --> 01:01:53,240 Speaker 2: idiotic hippie platitudes to defang the very legitimate labor and 1099 01:01:53,280 --> 01:01:56,400 Speaker 2: anti war movements that the government was concerned about at 1100 01:01:56,480 --> 01:01:59,960 Speaker 2: the time. And he puts he has takes Jim Morris 1101 01:02:00,080 --> 01:02:04,120 Speaker 2: in his sights, which is hilarious because he's like strange, 1102 01:02:04,200 --> 01:02:07,720 Speaker 2: how a film student who didn't play an instrument suddenly 1103 01:02:07,840 --> 01:02:12,800 Speaker 2: showed up with, like, I don't know, three dozen songs ready, 1104 01:02:13,160 --> 01:02:15,560 Speaker 2: and then all of those, a huge chunk of those 1105 01:02:15,640 --> 01:02:19,480 Speaker 2: songs became hits. And then he became this mystical figure 1106 01:02:19,480 --> 01:02:24,760 Speaker 2: ahead of the counterculture movement who was resolutely apolitical. Isn't 1107 01:02:24,800 --> 01:02:25,240 Speaker 2: that weird? 1108 01:02:25,600 --> 01:02:27,360 Speaker 1: Maybe was he a political I mean he had the 1109 01:02:27,440 --> 01:02:29,200 Speaker 1: Unknown Soldier and five to. 1110 01:02:29,280 --> 01:02:32,439 Speaker 2: One, and I guess that's true. I guess I don't 1111 01:02:32,480 --> 01:02:35,000 Speaker 2: really pause. I don't really think Jim Morrison was out 1112 01:02:35,040 --> 01:02:38,240 Speaker 2: there making like statements about socialism. 1113 01:02:38,920 --> 01:02:40,520 Speaker 1: He was trying to piss off his dad. It was 1114 01:02:40,560 --> 01:02:43,440 Speaker 1: an admiral in the Navies. We'll talk about, yes. 1115 01:02:43,880 --> 01:02:47,160 Speaker 2: Yeah, but I mean, you know, it is funny a 1116 01:02:47,240 --> 01:02:52,080 Speaker 2: film student coming out here with you know, four dozens 1117 01:02:52,120 --> 01:02:55,040 Speaker 2: of some of the most iconic movements and landing a 1118 01:02:55,160 --> 01:02:58,440 Speaker 2: major record label contract and international stardom within twelve months 1119 01:02:58,440 --> 01:02:58,960 Speaker 2: of trying. 1120 01:03:02,120 --> 01:03:04,640 Speaker 1: So the streak of good luck would continue to follow 1121 01:03:04,680 --> 01:03:07,360 Speaker 1: the doors. When Robbie Kreeger, the guitar is sat down 1122 01:03:07,440 --> 01:03:11,320 Speaker 1: to write his very first song ever, yeah, and came 1123 01:03:11,440 --> 01:03:14,840 Speaker 1: up with Light My Fire, which would become the number 1124 01:03:14,880 --> 01:03:18,480 Speaker 1: one song during the Summer of Love. Also, he don't 1125 01:03:18,520 --> 01:03:20,960 Speaker 1: even playing electric guitar for like a year before that 1126 01:03:21,240 --> 01:03:21,760 Speaker 1: at that point. 1127 01:03:21,960 --> 01:03:26,920 Speaker 2: Yeah, and like mostly flamenco Yeah, yeahjust goggles. 1128 01:03:27,040 --> 01:03:30,240 Speaker 1: That's why he's a mostly fingerstyle player. It's true, It's 1129 01:03:30,360 --> 01:03:32,960 Speaker 1: very true, he told me in twenty twenty one. Before that, 1130 01:03:33,160 --> 01:03:36,000 Speaker 1: I was really a music snob. Oh those rock guys, 1131 01:03:36,040 --> 01:03:39,160 Speaker 1: they're boring. Folk music's the thing, and flamenco and fancy 1132 01:03:39,200 --> 01:03:41,800 Speaker 1: stuff like that. At the time, there was just early 1133 01:03:41,880 --> 01:03:44,600 Speaker 1: Beach Boys and Jan and Dean. They had some cool stuff, 1134 01:03:44,640 --> 01:03:47,240 Speaker 1: but to me, it was corny. Until Bob Dylan started 1135 01:03:47,280 --> 01:03:49,760 Speaker 1: doing electric music in nineteen sixty five, I had no 1136 01:03:49,880 --> 01:03:52,560 Speaker 1: thoughts of doing that. Then one day I saw Chuck 1137 01:03:52,640 --> 01:03:55,000 Speaker 1: Berry play. The only reason I went to see him 1138 01:03:55,000 --> 01:03:57,080 Speaker 1: play was that it was billed as a blues festival. 1139 01:03:57,480 --> 01:03:59,600 Speaker 1: They had Big Mama Thornton and the Chambers brothers on 1140 01:03:59,680 --> 01:04:02,160 Speaker 1: that bill. Well, then here comes Chuck Berry and he 1141 01:04:02,360 --> 01:04:06,120 Speaker 1: just blew everybody away. He had Johnny Johnson on piano, 1142 01:04:06,280 --> 01:04:08,680 Speaker 1: he was duck walking and all that. So the very 1143 01:04:08,760 --> 01:04:10,760 Speaker 1: next day I went out and got an electric guitar. 1144 01:04:11,200 --> 01:04:13,960 Speaker 1: I wanted one like his. He had a red Gibson 1145 01:04:14,040 --> 01:04:16,720 Speaker 1: Ees three three five, but I couldn't afford that. So 1146 01:04:16,840 --> 01:04:18,560 Speaker 1: I went into the store and said, give me a 1147 01:04:18,600 --> 01:04:23,120 Speaker 1: red guitar that was an SG Special, Gibson SG Special. 1148 01:04:23,240 --> 01:04:25,200 Speaker 1: It sounded pretty good. For one hundred and eighty bucks. 1149 01:04:25,680 --> 01:04:27,840 Speaker 1: I used it on the two first stores albums and 1150 01:04:27,920 --> 01:04:28,880 Speaker 1: then it got stolen. 1151 01:04:29,680 --> 01:04:32,680 Speaker 2: It's one hundred and eighty bucks in sixty six moneing today. 1152 01:04:33,120 --> 01:04:35,880 Speaker 1: It's probably like about fifteen hundred, eighteen hundred. 1153 01:04:36,240 --> 01:04:38,400 Speaker 2: Oh okay, those is still what they kind of I 1154 01:04:39,040 --> 01:04:41,640 Speaker 2: knew sg's are probably open at the two to three 1155 01:04:41,800 --> 01:04:42,480 Speaker 2: grand range. 1156 01:04:42,560 --> 01:04:44,680 Speaker 1: But yeah, tell us about the SG. 1157 01:04:45,400 --> 01:04:48,360 Speaker 2: Oh yeah, Well, so he's interesting because he plays a 1158 01:04:48,440 --> 01:04:50,720 Speaker 2: model of SG that has a P nineties, which are 1159 01:04:50,760 --> 01:04:53,560 Speaker 2: single coil pickups, which are usually a sound that is 1160 01:04:53,640 --> 01:04:56,240 Speaker 2: more associated with the strat or telecaster. A lot of 1161 01:04:56,240 --> 01:05:01,120 Speaker 2: people think of the Gibson less Paul Litt humbucker model, 1162 01:05:01,120 --> 01:05:03,600 Speaker 2: which is like the big meat potatoes like rock tone. 1163 01:05:03,680 --> 01:05:06,840 Speaker 2: But Pete Townsend was another guy who played an SG 1164 01:05:07,040 --> 01:05:09,840 Speaker 2: with P nineties and gives it a little bit more arier, 1165 01:05:10,160 --> 01:05:13,640 Speaker 2: kind of more biting tone than some of the darker 1166 01:05:13,720 --> 01:05:19,040 Speaker 2: Humbucker sounds. And you know, Kreeger's og Doors guitar was 1167 01:05:19,200 --> 01:05:23,320 Speaker 2: stolen and has literally never been recovered. As of January 1168 01:05:23,440 --> 01:05:27,320 Speaker 2: twenty twenty four, he was still broadcasting pleased to people 1169 01:05:27,480 --> 01:05:30,800 Speaker 2: to check the serial numbers on their vintage Gibson's to 1170 01:05:30,920 --> 01:05:34,680 Speaker 2: make sure they hadn't bought his stolen guitar, which is 1171 01:05:34,840 --> 01:05:35,800 Speaker 2: so so sad. 1172 01:05:36,680 --> 01:05:36,920 Speaker 4: I know. 1173 01:05:37,360 --> 01:05:40,600 Speaker 1: I know earlier this year they found Paul McCartney's first 1174 01:05:40,640 --> 01:05:44,080 Speaker 1: Hofner bass. It was in somebody's attic and like some 1175 01:05:44,560 --> 01:05:47,200 Speaker 1: London suburb, so hopefully maybe you know it's not to 1176 01:05:47,400 --> 01:05:49,080 Speaker 1: I remember when I interviewed him, he was talking about 1177 01:05:49,120 --> 01:05:51,200 Speaker 1: how they had found the serial number and they were 1178 01:05:51,240 --> 01:05:53,400 Speaker 1: going to share it on all the doors, you know, 1179 01:05:53,680 --> 01:05:56,760 Speaker 1: social accounts and everything and try to get a campaign going. 1180 01:05:57,240 --> 01:05:59,800 Speaker 1: It's not too late. So yeah, everybody, if you're listening, 1181 01:06:00,080 --> 01:06:05,120 Speaker 1: you have a vintage Gibson SG check and I'm sure 1182 01:06:05,160 --> 01:06:09,320 Speaker 1: there's websites that have Robbie Kreeger's guitar serial number checking 1183 01:06:09,400 --> 01:06:10,760 Speaker 1: the check back to him. 1184 01:06:10,880 --> 01:06:12,560 Speaker 2: You know, you know he needs it. 1185 01:06:12,720 --> 01:06:15,080 Speaker 1: He's one of those. Even if it's not his, just 1186 01:06:15,160 --> 01:06:17,320 Speaker 1: send it to him. Many send your SG to Robbie Kreeger. 1187 01:06:19,000 --> 01:06:19,280 Speaker 4: Why not? 1188 01:06:20,120 --> 01:06:23,000 Speaker 1: How many sgs would he have to receive before the 1189 01:06:23,120 --> 01:06:26,240 Speaker 1: prank registers as hostile? How many? Yeah? 1190 01:06:26,280 --> 01:06:28,160 Speaker 2: Like, how many pizzas can you order to Robbie Creeker? 1191 01:06:28,360 --> 01:06:30,480 Speaker 2: How many sgs can we send to Robbie Kreeger? 1192 01:06:31,920 --> 01:06:32,120 Speaker 1: Yeah? 1193 01:06:32,240 --> 01:06:34,640 Speaker 2: They also put out a signature model that's like probably 1194 01:06:35,000 --> 01:06:38,480 Speaker 2: with more like a better more modern tich construction and 1195 01:06:38,560 --> 01:06:40,720 Speaker 2: everything than something that was he bought from a pawn 1196 01:06:40,760 --> 01:06:44,720 Speaker 2: shop and you know whenever, but I digress. 1197 01:06:45,160 --> 01:06:48,040 Speaker 1: Yes, So initially Jim Morrison was the one who wrote 1198 01:06:48,040 --> 01:06:50,720 Speaker 1: all the songs, but very briefly into their tenure as 1199 01:06:50,760 --> 01:06:53,160 Speaker 1: a club band, they realized that they had a very 1200 01:06:53,560 --> 01:06:56,600 Speaker 1: short set list they needed to bulk up. As Robbie 1201 01:06:56,600 --> 01:06:59,280 Speaker 1: told Reverb in twenty sixteen, we realized we didn't have 1202 01:06:59,360 --> 01:07:01,640 Speaker 1: enough originals. So Jim said, why don't you write some? 1203 01:07:01,960 --> 01:07:03,880 Speaker 1: Why do I have to do all the work. So 1204 01:07:03,960 --> 01:07:06,400 Speaker 1: I said, Okay, what should I write about? And he goes, 1205 01:07:06,480 --> 01:07:09,680 Speaker 1: write about something universal, write about something that will last, 1206 01:07:09,960 --> 01:07:12,880 Speaker 1: not just about today. So I decided to write about 1207 01:07:12,920 --> 01:07:17,120 Speaker 1: either air, earth, fire or water. And one of Robbie's 1208 01:07:17,120 --> 01:07:20,040 Speaker 1: favorite Rolling Stone songs was play with Fire. So we 1209 01:07:20,160 --> 01:07:22,680 Speaker 1: went with fire and Robbie he labored over the song 1210 01:07:22,800 --> 01:07:26,080 Speaker 1: for several days, determined to conjure up something more than 1211 01:07:26,160 --> 01:07:29,360 Speaker 1: a standard rock progression. He said, up until then, the 1212 01:07:29,440 --> 01:07:32,120 Speaker 1: Doors are doing three chord type songs that were pretty simple, 1213 01:07:32,320 --> 01:07:33,920 Speaker 1: like I Looked at You or End of the Night. 1214 01:07:34,640 --> 01:07:37,600 Speaker 1: I wanted to write something more adventurous. I decided I 1215 01:07:37,720 --> 01:07:39,880 Speaker 1: was going to put every chord I knew into this song, 1216 01:07:40,000 --> 01:07:42,919 Speaker 1: and I did. There are about fourteen different chords in there. 1217 01:07:43,520 --> 01:07:45,920 Speaker 1: For melody, he looked to Hey Joe, which was then 1218 01:07:46,000 --> 01:07:48,640 Speaker 1: a recent hit for the LA band The Leaves. This 1219 01:07:48,880 --> 01:07:52,000 Speaker 1: was before Jimi Hendrix's version with a verse in chorus 1220 01:07:52,080 --> 01:07:54,440 Speaker 1: under his belt. He brought the work in progress before 1221 01:07:54,480 --> 01:07:58,080 Speaker 1: his bandmates, and the song at this point was very folky, 1222 01:07:58,600 --> 01:08:01,760 Speaker 1: leading drummer John Den's to derisively compare it to a 1223 01:08:01,920 --> 01:08:06,160 Speaker 1: Sonny and Share song Oh oh yeah yeah. But Jim 1224 01:08:06,600 --> 01:08:10,120 Speaker 1: saw its potential and offered to contribute some extra lyrics. 1225 01:08:10,280 --> 01:08:13,320 Speaker 1: Kriiger recalled in the Classic Albums documentary, Jim came up 1226 01:08:13,360 --> 01:08:16,639 Speaker 1: with the second verse about the funeral pyre. I said, Jim, 1227 01:08:16,720 --> 01:08:18,880 Speaker 1: why is it always about death? Why do you always 1228 01:08:18,920 --> 01:08:21,280 Speaker 1: have to do that? And he said, no, man, it'll 1229 01:08:21,360 --> 01:08:25,040 Speaker 1: be perfect. You have the love part and then you 1230 01:08:25,160 --> 01:08:27,639 Speaker 1: got the death part. And he was right. 1231 01:08:27,840 --> 01:08:29,080 Speaker 2: A stirring analysis. 1232 01:08:29,520 --> 01:08:33,680 Speaker 1: Yes, and Raymond's Eric added the cartwheeling introduction, which, as 1233 01:08:33,760 --> 01:08:37,640 Speaker 1: you noted, was inspired by Box two and three part inventions. 1234 01:08:37,880 --> 01:08:40,639 Speaker 2: The corp progression to this song is actually kind of insane. 1235 01:08:40,840 --> 01:08:43,240 Speaker 2: The intro moves in fifths, it goes G to D 1236 01:08:43,560 --> 01:08:45,479 Speaker 2: and then it goes to a minor third and then 1237 01:08:45,560 --> 01:08:50,160 Speaker 2: goes up in fourths to there and then a half 1238 01:08:50,240 --> 01:08:52,720 Speaker 2: step up. That is a truly wild thing. There are 1239 01:08:52,720 --> 01:08:56,439 Speaker 2: still people debating it on Reddit music Theory on the 1240 01:08:56,520 --> 01:08:58,160 Speaker 2: music Theory subreddit, of which. 1241 01:08:58,080 --> 01:08:59,640 Speaker 1: Key it actually belongs to. 1242 01:09:00,200 --> 01:09:02,679 Speaker 2: So good on him for his first song. 1243 01:09:03,720 --> 01:09:06,120 Speaker 1: I mean, it's probably something that he wouldn't have done 1244 01:09:06,160 --> 01:09:08,200 Speaker 1: if he was a more experienced songwriter. It's such a 1245 01:09:08,280 --> 01:09:10,519 Speaker 1: weird move to make. It's one of those things of 1246 01:09:10,600 --> 01:09:13,560 Speaker 1: like not knowing what you aren't allowed to do. And 1247 01:09:13,720 --> 01:09:16,000 Speaker 1: also he's a big Flamenco fan and does have kind 1248 01:09:16,040 --> 01:09:19,559 Speaker 1: of a like Spanish tinged sound to it. So you've 1249 01:09:19,600 --> 01:09:24,120 Speaker 1: got ray Manzeric's Bach inspired intro, you've got the baseline 1250 01:09:24,760 --> 01:09:28,640 Speaker 1: borrowed from Fats Domino's Blueberry Hill I don't know if 1251 01:09:28,640 --> 01:09:31,559 Speaker 1: I totally hear, and you've got John Densmore's Latin rhythm 1252 01:09:31,800 --> 01:09:34,760 Speaker 1: on the drums. When it was released the following year, 1253 01:09:34,960 --> 01:09:39,120 Speaker 1: the song was credited jointly to the Doors because they 1254 01:09:39,160 --> 01:09:42,679 Speaker 1: all contributed to it much as probably what the band, 1255 01:09:43,280 --> 01:09:46,280 Speaker 1: the band, the band should have done, right. 1256 01:09:46,640 --> 01:09:50,320 Speaker 2: Yeah, it's a smart move. I mean that was Morrison's idea, right, it. 1257 01:09:50,360 --> 01:09:53,679 Speaker 1: Was Jim's idea, I guess I When I read Robbie, 1258 01:09:53,800 --> 01:09:57,760 Speaker 1: he reiterated just how much Jim was into preserving the 1259 01:09:57,840 --> 01:10:00,639 Speaker 1: democracy of the band, which is something to be said 1260 01:10:00,680 --> 01:10:03,559 Speaker 1: for him. Apparently there was some theater who billed them 1261 01:10:03,600 --> 01:10:07,160 Speaker 1: as Jim Morrison and the Doors on the Marquee, and Jim, 1262 01:10:07,439 --> 01:10:10,439 Speaker 1: upon arrival, demanded that they go up there and change it. 1263 01:10:10,680 --> 01:10:14,360 Speaker 1: And I think the only reason that they changed the 1264 01:10:14,600 --> 01:10:17,960 Speaker 1: way they credited songs from you know, the Doors to 1265 01:10:18,200 --> 01:10:21,919 Speaker 1: individual songwriters. I think it was on the Soft Parade, 1266 01:10:22,000 --> 01:10:25,639 Speaker 1: which is their fourth album, I believe so like three 1267 01:10:25,720 --> 01:10:30,040 Speaker 1: years into their career, because one of Robbie's songs had 1268 01:10:30,080 --> 01:10:34,000 Speaker 1: a song with the line that was something like pick 1269 01:10:34,080 --> 01:10:37,080 Speaker 1: up your guns and follow me, and Jim didn't want 1270 01:10:37,120 --> 01:10:40,759 Speaker 1: to sound like he was advocating violence, so Robbie refused 1271 01:10:40,800 --> 01:10:43,479 Speaker 1: to change the lyrics. So the compromise was, Okay, we're 1272 01:10:43,479 --> 01:10:45,280 Speaker 1: gonna let everybody know that these are your words and 1273 01:10:45,360 --> 01:10:45,760 Speaker 1: not mine. 1274 01:10:46,120 --> 01:10:48,439 Speaker 2: Robbie, I need you to understand, I have a bottle 1275 01:10:48,479 --> 01:10:50,880 Speaker 2: of whiskey in one hand, my dick in the other. 1276 01:10:51,680 --> 01:10:55,400 Speaker 2: That leaves no room for a gun do you understand, Robbie, 1277 01:10:56,080 --> 01:10:57,440 Speaker 2: it takes him aside. 1278 01:10:59,720 --> 01:11:00,759 Speaker 1: Armor on his shoulder. 1279 01:11:00,880 --> 01:11:03,960 Speaker 2: Yeah, good effort, though I also found it interesting this 1280 01:11:04,040 --> 01:11:05,920 Speaker 2: is one of those classic A Mastered at the wrong 1281 01:11:06,080 --> 01:11:10,680 Speaker 2: speed songs. Bruce Botnik is the guy who took over 1282 01:11:10,800 --> 01:11:15,080 Speaker 2: producing The Doors from Paul Rothschaud when Paul Rothschald quit 1283 01:11:15,280 --> 01:11:19,640 Speaker 2: in agony at some point midway through. I want to 1284 01:11:19,680 --> 01:11:22,240 Speaker 2: say Morrison Hotel, but it might have been Softwared. 1285 01:11:22,720 --> 01:11:24,320 Speaker 1: I think it was La Woman. I think they were 1286 01:11:24,360 --> 01:11:27,639 Speaker 1: starting to record La Woman, or not even starting record, 1287 01:11:27,840 --> 01:11:31,320 Speaker 1: just playing him the songs that they brought, and I 1288 01:11:31,400 --> 01:11:33,280 Speaker 1: think it was lover Madly. They played him like an 1289 01:11:33,280 --> 01:11:34,920 Speaker 1: early version of that, and he thought it was like 1290 01:11:35,000 --> 01:11:38,200 Speaker 1: cocktail music and was like, you guys are totally uninspired, 1291 01:11:38,360 --> 01:11:40,640 Speaker 1: like Jim is completely out to lunch, Like no, this 1292 01:11:40,840 --> 01:11:42,320 Speaker 1: is like if this is the best you can do, 1293 01:11:42,439 --> 01:11:44,400 Speaker 1: you guys got to like just produce yourselves. I'm out 1294 01:11:44,400 --> 01:11:45,760 Speaker 1: of here. So I think that was what it was. 1295 01:11:46,439 --> 01:11:47,800 Speaker 2: Well, so the guy who came in was a guy 1296 01:11:47,840 --> 01:11:51,160 Speaker 2: named Bruce Botnik, and it took apparently until two thousand 1297 01:11:51,200 --> 01:11:54,000 Speaker 2: and six for and I find this hilarious. A Brigham 1298 01:11:54,080 --> 01:11:55,759 Speaker 2: Young University professor. 1299 01:11:55,960 --> 01:11:56,400 Speaker 1: That's right. 1300 01:11:56,640 --> 01:12:02,680 Speaker 2: The Mormon place who wrote in to Bruce Botnik and 1301 01:12:02,960 --> 01:12:06,360 Speaker 2: was like, hey man, all the live footage and stuff 1302 01:12:06,400 --> 01:12:09,280 Speaker 2: shows them playing this in a or like photos and 1303 01:12:09,360 --> 01:12:15,120 Speaker 2: live footage, but this song is actually closer to a flat, 1304 01:12:16,320 --> 01:12:19,160 Speaker 2: which is a mastering error when it's been mastered at 1305 01:12:19,160 --> 01:12:22,920 Speaker 2: the wrong speed, and he corrected it for the two 1306 01:12:22,960 --> 01:12:27,240 Speaker 2: thousand and six remasters. Yeah, it makes sense too. I 1307 01:12:27,520 --> 01:12:30,880 Speaker 2: know guitarist or pianist is gonna maybe piano player, but 1308 01:12:31,000 --> 01:12:34,080 Speaker 2: no guitarist is gonna write a song in a flat 1309 01:12:34,160 --> 01:12:37,280 Speaker 2: if they can help it, because all of the open 1310 01:12:37,360 --> 01:12:43,040 Speaker 2: strings are just discordant like color notes. Then the only 1311 01:12:43,080 --> 01:12:47,000 Speaker 2: reason guitar is playing flat key is to humor hoorns. 1312 01:12:47,600 --> 01:12:52,559 Speaker 2: Another funny Paul Rothschild guitar quote concerned banning, literally banning 1313 01:12:52,640 --> 01:12:55,559 Speaker 2: a piece of equipment from the studio. Everybody was using 1314 01:12:55,600 --> 01:12:58,120 Speaker 2: wall wall pedals because Hendrix said just hit and guitar 1315 01:12:58,160 --> 01:13:02,280 Speaker 2: players were blown away by what he did with I prohibited. 1316 01:13:01,720 --> 01:13:03,320 Speaker 1: Robbie Krieger from using wah wah. 1317 01:13:03,720 --> 01:13:05,360 Speaker 2: When he asked me why, I said, because I want 1318 01:13:05,400 --> 01:13:07,800 Speaker 2: people to still be listening to Doors records in twenty years. 1319 01:13:08,120 --> 01:13:10,360 Speaker 2: If you sound like everyone else nobody's going to notice 1320 01:13:10,400 --> 01:13:11,679 Speaker 2: you now we're in the future. 1321 01:13:12,000 --> 01:13:16,360 Speaker 1: Damn. He was right to say it. Speaking of Doors 1322 01:13:16,479 --> 01:13:19,920 Speaker 1: songs that borrowed from other songs, as we did earlier 1323 01:13:20,479 --> 01:13:22,719 Speaker 1: break on Through to the other Side, the album's opener 1324 01:13:22,840 --> 01:13:25,960 Speaker 1: owes a large debt to a Paul Butterfield Blues Band song, 1325 01:13:26,520 --> 01:13:29,240 Speaker 1: and also Ray Charles what I'd Say, which I didn't 1326 01:13:29,280 --> 01:13:32,800 Speaker 1: realize until very recently. Robbie Krieger, as we mentioned earlier, 1327 01:13:32,840 --> 01:13:36,679 Speaker 1: spent his early years emulating Flamenco masters like Mario Escudo, 1328 01:13:37,360 --> 01:13:41,240 Speaker 1: Carlos Montoya and Sabikas. I don't know how you say 1329 01:13:41,320 --> 01:13:44,799 Speaker 1: that one, I don't know, before moving into the blues. 1330 01:13:45,360 --> 01:13:47,560 Speaker 1: From there, he discovered the raw Chicago sound of the 1331 01:13:47,640 --> 01:13:51,639 Speaker 1: Paul Butterfield Blues Band, bolstered by the searing twin guitars 1332 01:13:51,800 --> 01:13:55,880 Speaker 1: of Mike Bloomfield and Elden Bishop. When the Doors began 1333 01:13:56,120 --> 01:14:00,519 Speaker 1: raging the Jim Morrison composition break on Through, Rigger found 1334 01:14:00,520 --> 01:14:03,280 Speaker 1: the familiar line falling out of his guitar. He said, 1335 01:14:03,320 --> 01:14:04,760 Speaker 1: I got the idea for the riff from the Paul 1336 01:14:04,800 --> 01:14:07,160 Speaker 1: Butterfield song Shake Your Money Maker, which is one of 1337 01:14:07,240 --> 01:14:09,840 Speaker 1: my favorites. This is him talking in the Classic Albums 1338 01:14:09,920 --> 01:14:13,559 Speaker 1: documentary we just changed the beat around The Butterfield version 1339 01:14:13,640 --> 01:14:15,800 Speaker 1: of the song, which was first recorded by Elmore James 1340 01:14:15,840 --> 01:14:18,360 Speaker 1: in nineteen sixty one, was a track off their self 1341 01:14:18,439 --> 01:14:22,320 Speaker 1: titled nineteen sixty five debut, produced by Future Doors collaborator 1342 01:14:22,560 --> 01:14:53,080 Speaker 1: aforementioned Paul roth Child. In the same Classic Albums documentary, 1343 01:14:53,160 --> 01:14:56,480 Speaker 1: ray Manzeric also demonstrates how he borrowed the keyboard bassline 1344 01:14:56,520 --> 01:14:59,360 Speaker 1: from Ray Charles what I'd say, as well as elements 1345 01:14:59,360 --> 01:15:18,879 Speaker 1: of his organs Ray Charles, but I'm playing the other inside. 1346 01:15:21,520 --> 01:15:24,599 Speaker 1: We'd steal from anybody, especially black people. 1347 01:15:24,960 --> 01:15:29,160 Speaker 2: Commercial break engineer Bruce Botanik told Sound on Sound that 1348 01:15:29,200 --> 01:15:31,880 Speaker 2: the band's first album was recorded and mixed in just 1349 01:15:32,040 --> 01:15:33,120 Speaker 2: four and a half days. 1350 01:15:33,600 --> 01:15:36,080 Speaker 1: That's crazy. That is That is insane. 1351 01:15:36,200 --> 01:15:39,760 Speaker 2: Yeah, and the second took a relatively long two and 1352 01:15:39,840 --> 01:15:43,320 Speaker 2: a half weeks, also crazy. He contended that the band 1353 01:15:43,400 --> 01:15:45,879 Speaker 2: came into Sunset with like two and a half records 1354 01:15:45,960 --> 01:15:49,800 Speaker 2: worth of material from their live set, that basically they 1355 01:15:49,840 --> 01:15:53,160 Speaker 2: were ready to record. Another hilarious detail from that Sound 1356 01:15:53,200 --> 01:15:56,360 Speaker 2: on Sound interview is that botanic didn't like using pop filters, 1357 01:15:56,640 --> 01:15:58,479 Speaker 2: which are the screens placed in front of a mic 1358 01:15:58,600 --> 01:16:02,000 Speaker 2: to keep the plosives in words from overcoming the other 1359 01:16:03,160 --> 01:16:06,760 Speaker 2: phonemes and vocal performance. But he had to start once 1360 01:16:06,960 --> 01:16:11,519 Speaker 2: Morrison got into his serious drinking era, hearing that Morrison's 1361 01:16:11,640 --> 01:16:14,400 Speaker 2: high ABV slobber would damage the in nerds of the 1362 01:16:14,560 --> 01:16:18,720 Speaker 2: very expensive Telefunken U forty seven that Morrison demanded they 1363 01:16:18,760 --> 01:16:21,000 Speaker 2: use for his vocals because it was the one that 1364 01:16:21,080 --> 01:16:22,439 Speaker 2: Frank Sinatra used. 1365 01:16:22,400 --> 01:16:25,679 Speaker 1: Ires other around. I heard that he came into the studio, 1366 01:16:25,880 --> 01:16:28,759 Speaker 1: saw the microphone and got really excited because he recognized 1367 01:16:28,800 --> 01:16:31,479 Speaker 1: it from Frank Sinatra album covers. I didn't hear that 1368 01:16:31,520 --> 01:16:32,200 Speaker 1: he demanded it. 1369 01:16:32,520 --> 01:16:34,840 Speaker 2: Oh, I mean, yeah, whatever, six and one half does 1370 01:16:34,880 --> 01:16:35,240 Speaker 2: any the other? 1371 01:16:38,600 --> 01:16:38,800 Speaker 1: Yeah. 1372 01:16:38,880 --> 01:16:41,960 Speaker 2: So then Botnik made his own pop filters by gluing 1373 01:16:42,479 --> 01:16:47,080 Speaker 2: Ladies stockings over wireframes, and then he claimed that when 1374 01:16:47,120 --> 01:16:50,000 Speaker 2: they were freshly assembled, Jim would get an additional buzz 1375 01:16:50,040 --> 01:16:51,559 Speaker 2: off of the fresh paint fumes. 1376 01:16:54,160 --> 01:16:56,720 Speaker 1: It's kind of like for the Beatles rooftop concert. They say, 1377 01:16:56,800 --> 01:16:59,640 Speaker 1: oh is it John? Is it like the Beatles? They 1378 01:16:59,720 --> 01:17:03,759 Speaker 1: sent Alan Parsons to get Ladies stockings in the hosiery 1379 01:17:04,120 --> 01:17:07,759 Speaker 1: to cover the mics to try to act as wind screens. Sorry, 1380 01:17:07,920 --> 01:17:08,519 Speaker 1: you already got. 1381 01:17:09,080 --> 01:17:11,040 Speaker 2: That was why I already got your Hamburg Club thing 1382 01:17:11,120 --> 01:17:13,559 Speaker 2: in that's right, that's right, you did, Star Club, whatever. 1383 01:17:13,680 --> 01:17:14,240 Speaker 1: Cavern Club. 1384 01:17:14,320 --> 01:17:17,559 Speaker 2: Who gives a one fact that I think is actually 1385 01:17:17,680 --> 01:17:19,680 Speaker 2: quite overlooked when you're talking about the Doors, is that 1386 01:17:19,720 --> 01:17:22,799 Speaker 2: they are the first rock band to have a recorded 1387 01:17:22,920 --> 01:17:26,559 Speaker 2: use of a Mogue synthesizer in the studio. A Strange 1388 01:17:26,640 --> 01:17:28,680 Speaker 2: Days recorded a year after this debut, which is what 1389 01:17:28,720 --> 01:17:31,200 Speaker 2: we're talking about. But this was at a point in 1390 01:17:31,280 --> 01:17:34,280 Speaker 2: history when Wendy Carlos was about to actually introduce the 1391 01:17:34,320 --> 01:17:37,759 Speaker 2: wider world to the possibilities of mog since with Switched 1392 01:17:37,800 --> 01:17:40,080 Speaker 2: On Boch which became a huge hit in nineteen sixty eight. 1393 01:17:40,720 --> 01:17:44,240 Speaker 2: But prior to that, synthesizers were just like completely alien 1394 01:17:44,320 --> 01:17:47,679 Speaker 2: to people and just almost science fiction when you started 1395 01:17:47,720 --> 01:17:50,479 Speaker 2: talking about the way they actually work. You can generate 1396 01:17:50,680 --> 01:17:53,800 Speaker 2: sound signals from just pure electricity and blah blah blah. 1397 01:17:53,880 --> 01:17:54,040 Speaker 4: Yeah. 1398 01:17:54,439 --> 01:17:58,200 Speaker 2: So, one of the earliest Mogue models was owned by 1399 01:17:58,240 --> 01:18:00,719 Speaker 2: a guy named Paul Beaver who is a a session 1400 01:18:00,800 --> 01:18:03,880 Speaker 2: keyboardist in la and he originally bought it with another 1401 01:18:04,080 --> 01:18:06,240 Speaker 2: guy that they had to literally go in on this 1402 01:18:06,400 --> 01:18:08,840 Speaker 2: purchase because this thing was so crazy they wanted to 1403 01:18:08,920 --> 01:18:11,759 Speaker 2: use it in film scoring, and it actually didn't find 1404 01:18:12,040 --> 01:18:14,439 Speaker 2: many people were keen on using it in that, so 1405 01:18:14,560 --> 01:18:17,240 Speaker 2: they just hauled it out to the Monterey Pop Festival 1406 01:18:17,520 --> 01:18:19,800 Speaker 2: in June of nineteen sixty seven and put it on 1407 01:18:19,920 --> 01:18:22,839 Speaker 2: display there, which is when a lot of visiting musicians 1408 01:18:22,920 --> 01:18:24,519 Speaker 2: came around and started being like, Oh. 1409 01:18:24,520 --> 01:18:27,120 Speaker 1: What's this that you have. Mickey Dolans from the Monkeys 1410 01:18:27,200 --> 01:18:28,640 Speaker 1: was one of them. I think he was one of 1411 01:18:28,760 --> 01:18:33,240 Speaker 1: the first, like two or three musicians in that scene 1412 01:18:33,400 --> 01:18:34,679 Speaker 1: to buy a Mogue synth. 1413 01:18:35,200 --> 01:18:37,840 Speaker 2: So for the title track of Strange Days, Botnick said, 1414 01:18:38,040 --> 01:18:40,760 Speaker 2: we created an envelope where we would feed Jim's track, 1415 01:18:40,920 --> 01:18:43,479 Speaker 2: the vocal track, into the Mogue so that he could 1416 01:18:43,520 --> 01:18:46,599 Speaker 2: play any note on the Mogue keyboard and his voice 1417 01:18:46,600 --> 01:18:49,040 Speaker 2: would be processed through all of those electronic signals that 1418 01:18:49,120 --> 01:18:50,719 Speaker 2: comprise the synth sound. 1419 01:18:51,360 --> 01:18:52,440 Speaker 1: And he said he added. 1420 01:18:52,200 --> 01:18:55,320 Speaker 2: Tape delay and fed the whole thing through a tape 1421 01:18:55,360 --> 01:19:00,440 Speaker 2: loop all by hand, which you can't just do with plugins. 1422 01:19:00,520 --> 01:19:02,439 Speaker 2: I could do it to your vocal track as we 1423 01:19:02,520 --> 01:19:04,439 Speaker 2: were doing this right now, but I won't. 1424 01:19:05,120 --> 01:19:09,120 Speaker 1: It's also on I forget which track where they did 1425 01:19:09,160 --> 01:19:12,360 Speaker 1: a backwards I think it was a piano solo. I'm 1426 01:19:12,360 --> 01:19:14,240 Speaker 1: prettyure it's a piano, so I might have a guitar solo. 1427 01:19:14,680 --> 01:19:17,200 Speaker 1: And they just had to like write it out backwards 1428 01:19:17,400 --> 01:19:20,080 Speaker 1: and play it backwards, but to keep it in time 1429 01:19:20,160 --> 01:19:22,200 Speaker 1: with the track, they had to like have the track 1430 01:19:22,320 --> 01:19:24,600 Speaker 1: playing in his headphones. It was something crazy that like 1431 01:19:24,680 --> 01:19:28,240 Speaker 1: messed with his head. Sounds about right, Yeah, it's hard. Yeah. 1432 01:19:29,600 --> 01:19:32,800 Speaker 2: Soul Kitchen was apparently based on a real restaurant, Olivia's, 1433 01:19:32,840 --> 01:19:37,160 Speaker 2: in Venice Beach, UCLA. Students often packed the place because 1434 01:19:37,200 --> 01:19:40,320 Speaker 2: I guess, cheap, good food, open late, and Morrison of 1435 01:19:40,360 --> 01:19:42,479 Speaker 2: course took advantage of this and just hung out there 1436 01:19:42,600 --> 01:19:45,240 Speaker 2: until like the wee hours of the morning. John Densmore 1437 01:19:45,400 --> 01:19:49,160 Speaker 2: described the diner Olivia's in his nineteen ninety one book 1438 01:19:49,439 --> 01:19:53,000 Speaker 2: Riders on the Storm as a small soul food restaurant 1439 01:19:53,000 --> 01:19:55,519 Speaker 2: at the corner of Ocean Park in Maine, but that 1440 01:19:55,600 --> 01:19:59,280 Speaker 2: it belonged in Biloxi, Mississippi, and resembled an Amtrak dining 1441 01:19:59,360 --> 01:20:03,599 Speaker 2: car that got stranded on the beach. Wonderfully evocative, mister Dinsmore. 1442 01:20:04,120 --> 01:20:06,200 Speaker 2: The only note I have about the Crystal Ship was 1443 01:20:06,240 --> 01:20:08,920 Speaker 2: this weird bit of apocrypha that in nineteen ninety one, 1444 01:20:09,120 --> 01:20:11,600 Speaker 2: decades after Morrison had died in the song and the 1445 01:20:11,800 --> 01:20:15,000 Speaker 2: song had been out, a guy named Justin Clayton wrote 1446 01:20:15,040 --> 01:20:19,080 Speaker 2: into the La Times positing that the song was about meth, 1447 01:20:19,680 --> 01:20:22,920 Speaker 2: with Crystal being slain for that drug. John Dinsmore apparently 1448 01:20:23,080 --> 01:20:26,479 Speaker 2: saw this and was incensed enough to write in with 1449 01:20:26,600 --> 01:20:29,080 Speaker 2: his own letter to the editor saying that it was 1450 01:20:29,160 --> 01:20:31,599 Speaker 2: not about drugs. They knew that crystal was a slang, 1451 01:20:31,680 --> 01:20:34,920 Speaker 2: but it was not. Jim wrote the Crystal Ship for 1452 01:20:35,120 --> 01:20:38,520 Speaker 2: Mary Warbelow Warbello, a girlfriend. 1453 01:20:38,160 --> 01:20:40,240 Speaker 1: With whom he was breaking up. I think he wrote 1454 01:20:40,280 --> 01:20:44,559 Speaker 1: the end for her too. Also, was crystal meth around 1455 01:20:45,120 --> 01:20:47,720 Speaker 1: in the sixties, like, I don't think so. Just do 1456 01:20:47,880 --> 01:20:50,920 Speaker 1: a quick check there, crystal meth. Glad this is my work. 1457 01:20:51,000 --> 01:20:54,840 Speaker 1: Laptop methamphetamine was discovered in eighteen ninety three. 1458 01:20:55,600 --> 01:20:59,080 Speaker 2: Methamphetamine hydro chloride is crystal meth, all right. I've put 1459 01:20:59,160 --> 01:21:04,080 Speaker 2: enough effort towards this side. Don't care anymore. Twentieth Century 1460 01:21:04,120 --> 01:21:08,479 Speaker 2: Fox a song that I hate shoes Uh done, Dune. 1461 01:21:09,200 --> 01:21:11,400 Speaker 1: What are your thoughts on twentieth century Fox? I don't 1462 01:21:11,439 --> 01:21:15,000 Speaker 1: mind it. It's a mid sixties white guys doing R 1463 01:21:15,080 --> 01:21:15,840 Speaker 1: and B song. 1464 01:21:16,120 --> 01:21:20,400 Speaker 2: Sure, Anyway, Paul Rotchard had the band walk on wooden 1465 01:21:20,520 --> 01:21:23,920 Speaker 2: planks in the studio to get those clunky down. 1466 01:21:23,800 --> 01:21:25,439 Speaker 1: Beat bing wow. 1467 01:21:26,360 --> 01:21:28,519 Speaker 2: He says, it's small. It sounds like a small army. 1468 01:21:28,600 --> 01:21:30,800 Speaker 2: I'd just done a Flamenco record where I'd used a 1469 01:21:30,840 --> 01:21:36,439 Speaker 2: similar idea, because Flamenco dance and guitar are so the 1470 01:21:37,080 --> 01:21:39,360 Speaker 2: heels and the dancing is such an part of it. 1471 01:21:39,479 --> 01:21:44,360 Speaker 2: So he probably had them double the he probably, I'm 1472 01:21:44,360 --> 01:21:46,519 Speaker 2: assuming he had the Flamenco the dance part of it 1473 01:21:47,400 --> 01:21:51,120 Speaker 2: isolated in a separate room from the guitar, maybe on 1474 01:21:51,320 --> 01:21:54,720 Speaker 2: an additional level of boards to get that sound. It's 1475 01:21:54,800 --> 01:21:57,439 Speaker 2: interesting Alabama song, who gives a shit? 1476 01:21:58,320 --> 01:22:01,160 Speaker 1: I do? I like that song. I do too. 1477 01:22:01,560 --> 01:22:05,559 Speaker 2: It's just it's such an outlier, man, it is so weird, 1478 01:22:05,880 --> 01:22:07,519 Speaker 2: Like why did you horn? 1479 01:22:08,840 --> 01:22:11,040 Speaker 1: I don't know, man, I just hate all that German boom. 1480 01:22:11,120 --> 01:22:15,519 Speaker 2: But everyone's better men than better men than ray Man 1481 01:22:15,640 --> 01:22:20,880 Speaker 2: Zerek have tried exclusively mean Tom Waits, it's not gonna happen. 1482 01:22:21,680 --> 01:22:27,439 Speaker 2: But it's bertel Brect and Curtville Vielville Rise and fall 1483 01:22:27,520 --> 01:22:28,720 Speaker 2: of the City of Mahogany. 1484 01:22:29,720 --> 01:22:32,360 Speaker 1: What is that? Jordan tell us a Mahogony. I don't 1485 01:22:32,400 --> 01:22:34,280 Speaker 1: know the I don't know the plot, but these are 1486 01:22:34,320 --> 01:22:36,599 Speaker 1: the same men who brought you Mack the Knife from 1487 01:22:36,640 --> 01:22:37,479 Speaker 1: three Penny Opera. 1488 01:22:37,680 --> 01:22:38,639 Speaker 2: Now that's a song. 1489 01:22:38,800 --> 01:22:40,040 Speaker 1: That's a song. 1490 01:22:40,280 --> 01:22:43,240 Speaker 2: Yeah, okay, I would kill to hear Jim Morrison do 1491 01:22:43,360 --> 01:22:45,240 Speaker 2: Mack the Knife. End of the Night is, as I 1492 01:22:45,320 --> 01:22:51,240 Speaker 2: mentioned earlier, references the Louis Ferdinand Selene's absolute chore of 1493 01:22:51,320 --> 01:22:53,479 Speaker 2: an existentialist tome, Journey to the End of the Night, 1494 01:22:55,240 --> 01:22:58,519 Speaker 2: as well as William Blake's poem Auguries of Innocence, which 1495 01:22:58,640 --> 01:23:01,439 Speaker 2: is specifically with the line and uh, some are born 1496 01:23:01,520 --> 01:23:05,680 Speaker 2: to sweet delight, some are born to endless night. I 1497 01:23:05,760 --> 01:23:07,559 Speaker 2: gotta look up writers on the Storm lyrics. I think 1498 01:23:07,560 --> 01:23:12,000 Speaker 2: there's another one in there that I really hate. What's 1499 01:23:12,040 --> 01:23:15,000 Speaker 2: your favorite doors Clunker, Jim Clunker? 1500 01:23:15,600 --> 01:23:17,000 Speaker 1: Uh, you know what it is. 1501 01:23:17,080 --> 01:23:21,320 Speaker 2: It's the rhyme structure of this. It's a A B 1502 01:23:22,080 --> 01:23:27,560 Speaker 2: B B B A riders on the storm, riders on 1503 01:23:27,640 --> 01:23:29,920 Speaker 2: the storm, and to this house. We're born into this 1504 01:23:30,080 --> 01:23:34,120 Speaker 2: world worth thrown like a dog without a bone, an 1505 01:23:34,160 --> 01:23:37,000 Speaker 2: actor out on loan. Actually, it's not even that rhyme structure. 1506 01:23:37,000 --> 01:23:39,320 Speaker 2: He doesn't adhere to that. Keep going on. I like 1507 01:23:39,400 --> 01:23:44,400 Speaker 2: the slant rhyme between born and thrown, but bone bone 1508 01:23:44,680 --> 01:23:45,960 Speaker 2: loan is unforgivable? 1509 01:23:46,280 --> 01:23:48,320 Speaker 1: What is he rhyme toad with again a road? 1510 01:23:48,720 --> 01:23:52,559 Speaker 2: Yeah, and also loan that's which again that's fine, that's 1511 01:23:52,680 --> 01:23:55,080 Speaker 2: rhymes with thrones and I slant slant rhyme for that 1512 01:23:56,800 --> 01:23:59,600 Speaker 2: rhmes when you force a rhyme with a homophone. That 1513 01:23:59,680 --> 01:24:04,000 Speaker 2: was like my big move instead of doing rhyming. You know, 1514 01:24:04,120 --> 01:24:06,320 Speaker 2: sounds so sing song when you do it. But like 1515 01:24:06,439 --> 01:24:10,160 Speaker 2: if you use your kind of rock and roll license 1516 01:24:10,240 --> 01:24:14,800 Speaker 2: to just force songs, force lyrics and sounds that don't 1517 01:24:15,160 --> 01:24:18,519 Speaker 2: rhyme on paper, but do when song or in your mouth? 1518 01:24:19,720 --> 01:24:20,720 Speaker 2: Is that what a slat rhym is? 1519 01:24:20,920 --> 01:24:23,679 Speaker 1: Yes, that is a slant rhym. I'm glad. 1520 01:24:23,680 --> 01:24:27,360 Speaker 2: I still remember that from reading about John Berryman in 1521 01:24:28,240 --> 01:24:31,800 Speaker 2: freshman year. So stupid, girl, you gotta love your man, 1522 01:24:32,040 --> 01:24:36,120 Speaker 2: Take him by the hand, make him understand the world 1523 01:24:36,200 --> 01:24:39,160 Speaker 2: on you depends. Our life will never end. Got to 1524 01:24:39,240 --> 01:24:43,600 Speaker 2: love your man unforgivable. I'm so sorry. There's also like 1525 01:24:43,680 --> 01:24:45,640 Speaker 2: four the three other songs on this record that no 1526 01:24:45,720 --> 01:24:48,400 Speaker 2: one knows anything about or can tullu sorry. 1527 01:24:48,720 --> 01:24:50,960 Speaker 1: Yeah, well, of course this brings us all to the doors, 1528 01:24:51,040 --> 01:24:54,960 Speaker 1: preeminent showstop or the end and extended ten minute drone 1529 01:24:55,280 --> 01:24:58,479 Speaker 1: jam seance that blurred the lines between music and theater. 1530 01:24:59,360 --> 01:25:01,040 Speaker 1: The piece was a it tore to force for Jim, 1531 01:25:01,120 --> 01:25:03,960 Speaker 1: who delivered a lengthy mid song poem inspired by the 1532 01:25:04,000 --> 01:25:08,320 Speaker 1: Greek tragedy Oedipus Rex. Performing the song nightly on stage 1533 01:25:08,479 --> 01:25:11,240 Speaker 1: was difficult, but summoning the dneis and energy inside a 1534 01:25:11,360 --> 01:25:16,040 Speaker 1: sterile hospital like recording studio was a whole other proposition altogether. 1535 01:25:16,920 --> 01:25:19,840 Speaker 1: Producer Paul Rothschild and engineer Bruce Botnik did their best 1536 01:25:19,880 --> 01:25:23,080 Speaker 1: to set the vibes. As Rothschild remembers in Stephen Davis's 1537 01:25:23,200 --> 01:25:26,599 Speaker 1: Jim Morrison life death legend, the lights had been dimmed 1538 01:25:26,640 --> 01:25:29,080 Speaker 1: and the candles were burning right next to Jim, whose 1539 01:25:29,160 --> 01:25:32,040 Speaker 1: back was to the control room. The only other illumination 1540 01:25:32,240 --> 01:25:35,080 Speaker 1: came from the lights on the vu meters. The studio 1541 01:25:35,200 --> 01:25:38,120 Speaker 1: was very dark. Morrison did his own mood setting by 1542 01:25:38,320 --> 01:25:41,760 Speaker 1: taking a tab of LSD. At first it was a 1543 01:25:41,800 --> 01:25:45,439 Speaker 1: performance enhancer, let's be honest, but then during playback it 1544 01:25:45,560 --> 01:25:49,559 Speaker 1: became apparent that Jim was, by Robber Krieger's estimation too 1545 01:25:49,640 --> 01:25:52,799 Speaker 1: high to continue the session. So three of the doors 1546 01:25:52,880 --> 01:25:58,200 Speaker 1: decided to continue work the following day. Jim had other ideas. 1547 01:26:00,160 --> 01:26:02,920 Speaker 1: Krieger would remember, he trashed the studio after we did 1548 01:26:03,000 --> 01:26:05,280 Speaker 1: the end. Jim was on a lot of acid and 1549 01:26:05,360 --> 01:26:07,479 Speaker 1: when we finished recording, he didn't want to go home. 1550 01:26:08,000 --> 01:26:09,880 Speaker 1: The rest of us left, but he snuck back into 1551 01:26:09,920 --> 01:26:11,920 Speaker 1: the studio and got pissed off that there was no 1552 01:26:11,960 --> 01:26:14,519 Speaker 1: one else around, so he sprayed the place down with 1553 01:26:14,600 --> 01:26:23,960 Speaker 1: a foaming fire extinguisher. What a fucking dickhead, boorish, fratty 1554 01:26:24,080 --> 01:26:27,720 Speaker 1: thing to do. And Junior Bruce bought and elaborated on 1555 01:26:27,800 --> 01:26:30,719 Speaker 1: this episode. In Mick Wall's Love Becomes a Funeral Pyre, 1556 01:26:31,800 --> 01:26:34,320 Speaker 1: Jim had got across the street to the Blessed Sacrament, 1557 01:26:34,400 --> 01:26:36,960 Speaker 1: a Catholic church, and he had an epiphany over there. 1558 01:26:37,280 --> 01:26:39,360 Speaker 1: He came back to the studio and the gate was locked. 1559 01:26:39,800 --> 01:26:41,880 Speaker 1: He climbed over the gate got in, but he couldn't 1560 01:26:41,880 --> 01:26:44,240 Speaker 1: get into the control room that was locked. But the 1561 01:26:44,280 --> 01:26:47,040 Speaker 1: studio was open and the red lights were on, and 1562 01:26:47,200 --> 01:26:52,839 Speaker 1: these red lights apparently registered as fire. To Jim's acid 1563 01:26:52,920 --> 01:26:55,479 Speaker 1: addled brain, he thought it was on fire bought, and 1564 01:26:55,520 --> 01:26:58,040 Speaker 1: that continued. So he grabbed a fire extinguisher and knocked 1565 01:26:58,080 --> 01:27:00,439 Speaker 1: over the ashtrays that were full of sand, and tried 1566 01:27:00,479 --> 01:27:04,439 Speaker 1: to put out the fire. Ramon Zak recalled the story 1567 01:27:04,560 --> 01:27:07,439 Speaker 1: slightly differently in his memoir Light My Fire. He claims 1568 01:27:07,439 --> 01:27:10,400 Speaker 1: that Morrison began ranting about a fire while being driven 1569 01:27:10,439 --> 01:27:13,600 Speaker 1: home from the studio by his girlfriend, Pamela Corson. He 1570 01:27:13,720 --> 01:27:16,799 Speaker 1: was so persistent that Coruson reluctantly returned to the studio 1571 01:27:17,200 --> 01:27:20,400 Speaker 1: and Morrison immediately bounded over the fence. He took the 1572 01:27:20,479 --> 01:27:23,920 Speaker 1: fire extinguisher and hosed the whole place down, Man Xeric continued, 1573 01:27:24,160 --> 01:27:26,240 Speaker 1: not in the control room, thank god, just the area 1574 01:27:26,280 --> 01:27:29,360 Speaker 1: where the band was. Just blasted the whole place, man, 1575 01:27:29,520 --> 01:27:32,320 Speaker 1: just to cool it down. Much of the band's equipment 1576 01:27:32,479 --> 01:27:37,840 Speaker 1: was ruined, including a full size harpsichord the image of 1577 01:27:37,920 --> 01:27:41,840 Speaker 1: an acid addle. Jim Morrison sprang a fire extinguisher on 1578 01:27:42,000 --> 01:27:46,479 Speaker 1: a harpsichord. He's pretty good. The following day, however, a 1579 01:27:46,640 --> 01:27:50,200 Speaker 1: single boot obviously belonging to Morrison was found in a 1580 01:27:50,280 --> 01:27:55,200 Speaker 1: chain link fence outside the studio, and everybody put two 1581 01:27:55,240 --> 01:27:55,840 Speaker 1: and two together. 1582 01:27:56,120 --> 01:27:58,479 Speaker 2: He showed up like with lonely wearing one boot and 1583 01:27:58,640 --> 01:27:59,840 Speaker 2: was like, oh, there's my boot. 1584 01:28:01,680 --> 01:28:05,719 Speaker 1: Out of dolt Ray van Zara continued, the studio people 1585 01:28:05,880 --> 01:28:10,000 Speaker 1: just absolutely freaked. Paul Rothschild said, don't worry. Don't worry. 1586 01:28:10,040 --> 01:28:12,360 Speaker 1: Elector will pay for it. No reason to call the police. 1587 01:28:12,920 --> 01:28:15,080 Speaker 1: He knew right away who did it. We all knew 1588 01:28:15,120 --> 01:28:18,920 Speaker 1: what happened. The only one who claimed ignorance was predictably, 1589 01:28:19,000 --> 01:28:22,720 Speaker 1: Jim himself. John Densmow recalls him saying, over breakfast the 1590 01:28:22,760 --> 01:28:28,439 Speaker 1: next day, I did that. Come on really? Electra Records 1591 01:28:28,479 --> 01:28:31,960 Speaker 1: head Jack Holtzman immediately cut a very large check to 1592 01:28:32,080 --> 01:28:35,240 Speaker 1: the studio's owner. He would say. I rushed over and said, 1593 01:28:35,360 --> 01:28:38,080 Speaker 1: I agree, it's out of control. All pay for the damages. 1594 01:28:38,479 --> 01:28:40,720 Speaker 1: The incident was smoothed over, but Robbie felt at the 1595 01:28:40,800 --> 01:28:44,439 Speaker 1: moment marked a turning point in Jim's psyche. I thought, 1596 01:28:45,000 --> 01:28:46,800 Speaker 1: Jim felt, well, I can get away with that. I 1597 01:28:46,840 --> 01:28:50,080 Speaker 1: can get away with anything. Narrator voice. He could not. 1598 01:28:51,080 --> 01:28:54,320 Speaker 1: For a time he did though, yes, yes, very much so. 1599 01:28:54,479 --> 01:28:59,080 Speaker 2: But specifically he would later fail it taking bath and 1600 01:28:59,280 --> 01:29:00,280 Speaker 2: public commuty. 1601 01:29:04,479 --> 01:29:09,880 Speaker 1: Parisian bath, taking a fool in harpsichord man, I know 1602 01:29:10,280 --> 01:29:10,519 Speaker 1: I know. 1603 01:29:12,240 --> 01:29:15,599 Speaker 2: What a bore, which was the song that he made. 1604 01:29:15,960 --> 01:29:20,439 Speaker 1: Pam gave him blowies while he was doing. I don't 1605 01:29:20,439 --> 01:29:21,720 Speaker 1: know if it was pant. I guess it must have 1606 01:29:21,720 --> 01:29:24,960 Speaker 1: been Pam. I think it was your your lost little girl. 1607 01:29:25,120 --> 01:29:27,639 Speaker 2: It is in the movie, right, it's it's adorable little 1608 01:29:27,880 --> 01:29:30,679 Speaker 2: Meg Ryan who has to get near an in character 1609 01:29:30,920 --> 01:29:38,080 Speaker 2: Val Kilmer's presumably stanky, leather paint swaddled crotch. Can you 1610 01:29:38,160 --> 01:29:41,120 Speaker 2: imagine Val Kilmer in character is Jim Morrison? What a 1611 01:29:41,360 --> 01:29:42,479 Speaker 2: fucking nightmare? 1612 01:29:43,040 --> 01:29:47,240 Speaker 1: Yeah, that is true. He's very brave. Yes. Weren't they 1613 01:29:47,240 --> 01:29:50,960 Speaker 1: in Top Gun together? Yeah? Meg Ryan though she was 1614 01:29:50,960 --> 01:29:52,720 Speaker 1: in Top Guns. She's like a small old top Gun 1615 01:29:52,760 --> 01:29:57,679 Speaker 1: didn't Maybe she's America sweetheart. Yeah, she was the wife 1616 01:29:57,720 --> 01:30:02,439 Speaker 1: of of Goose Bread. Oh yeah, here's who dies right right? Yeah. 1617 01:30:03,280 --> 01:30:06,799 Speaker 1: Electra Records chief Jack Holtzman would similarly marvel at Jim's 1618 01:30:06,800 --> 01:30:10,479 Speaker 1: ability to steer himself out of a death spiral until 1619 01:30:10,560 --> 01:30:13,960 Speaker 1: he would not steer himself out of a death spiral. 1620 01:30:14,240 --> 01:30:17,120 Speaker 1: He would test every boundary crash his car drunk into 1621 01:30:17,160 --> 01:30:18,800 Speaker 1: a police cruiser and see if you could get out 1622 01:30:18,800 --> 01:30:22,400 Speaker 1: of it. And he could. And during my interview with 1623 01:30:22,479 --> 01:30:26,160 Speaker 1: Robbi Kreeger, he often spoke of Jim's masochistic streak. He 1624 01:30:26,280 --> 01:30:28,720 Speaker 1: recalled seeing Jim getting worked over by a couple of 1625 01:30:28,840 --> 01:30:31,479 Speaker 1: navy guys in a phone booth. When I say worked over, 1626 01:30:31,560 --> 01:30:35,920 Speaker 1: I mean beat up. And Robbie has this absolute photographic 1627 01:30:36,120 --> 01:30:39,920 Speaker 1: image of Jim's face smashed up against the glass of 1628 01:30:40,040 --> 01:30:43,840 Speaker 1: this phone booth. But he's got a big grint, and 1629 01:30:43,960 --> 01:30:47,120 Speaker 1: it's just always stuck with Robbie as like this, this 1630 01:30:47,240 --> 01:30:49,240 Speaker 1: guy's a little different. And he also said that he 1631 01:30:49,360 --> 01:30:53,080 Speaker 1: used to flip quarters into his mouth and swallow them 1632 01:30:53,120 --> 01:30:54,479 Speaker 1: as a way to impress girls. 1633 01:30:55,320 --> 01:30:59,920 Speaker 2: I know it smelled crazy around him. Can you imagine 1634 01:31:00,120 --> 01:31:06,559 Speaker 2: with that guy's mouth was like just pickled first of all, 1635 01:31:06,800 --> 01:31:11,080 Speaker 2: but like permanently reeking of like cheap weed. I assume 1636 01:31:11,120 --> 01:31:13,840 Speaker 2: he didn't brush his teeth. He was above such earth 1637 01:31:13,960 --> 01:31:17,800 Speaker 2: bound prosaic concerns. And he's wearing the skin he wore 1638 01:31:17,880 --> 01:31:20,559 Speaker 2: like skin tight leather pants for like three years straight. 1639 01:31:20,840 --> 01:31:24,400 Speaker 1: Right, that's true, my god, mine? 1640 01:31:24,400 --> 01:31:26,920 Speaker 2: And they and deodorant wasn't even like widely a thing 1641 01:31:26,960 --> 01:31:27,759 Speaker 2: at this point. 1642 01:31:27,720 --> 01:31:30,519 Speaker 1: My god, about that. 1643 01:31:30,800 --> 01:31:33,960 Speaker 2: But it wasn't right like mass market deodorants started with 1644 01:31:34,080 --> 01:31:35,080 Speaker 2: like that's I think about. 1645 01:31:35,320 --> 01:31:35,360 Speaker 1: No. 1646 01:31:36,479 --> 01:31:40,040 Speaker 2: No, before then it was like a powder. Uh Okay, 1647 01:31:40,080 --> 01:31:44,760 Speaker 2: I was wrong about that. It was aerosol era. It 1648 01:31:44,800 --> 01:31:45,720 Speaker 2: would have been aerosolted. 1649 01:31:45,880 --> 01:31:46,400 Speaker 1: Oh yeah. 1650 01:31:46,920 --> 01:31:49,560 Speaker 2: But also how charitable of us to assume he was 1651 01:31:49,600 --> 01:31:53,759 Speaker 2: even taking that effort, not just being like, my musk 1652 01:31:54,000 --> 01:31:57,600 Speaker 2: is a beautiful and natural thing and everyone deserves to 1653 01:31:57,800 --> 01:32:04,360 Speaker 2: huff it. Oh good Lord, I can taste it. I 1654 01:32:04,439 --> 01:32:06,160 Speaker 2: can taste what he smelled like. 1655 01:32:06,400 --> 01:32:14,439 Speaker 1: Like hot dimes, just the old nickels and ash and 1656 01:32:14,560 --> 01:32:20,320 Speaker 1: wild turkey, yeah and petruly, oh god, naturally of. 1657 01:32:20,439 --> 01:32:27,599 Speaker 2: Course, and yeah, stale, sweaty leather. How could anyone bear. 1658 01:32:27,479 --> 01:32:28,320 Speaker 1: To have sex with him? 1659 01:32:28,720 --> 01:32:31,000 Speaker 2: I mean, I guess they all smelled various degrees of 1660 01:32:31,520 --> 01:32:37,120 Speaker 2: back then his hair too, like I assume he never 1661 01:32:37,320 --> 01:32:40,400 Speaker 2: washed his hair, and all food like probably stuck in 1662 01:32:40,479 --> 01:32:43,160 Speaker 2: his beard when he was into the phat Erah. Oh God, 1663 01:32:46,160 --> 01:32:48,560 Speaker 2: As you meditate on that, we'll be right back with 1664 01:32:48,720 --> 01:32:50,559 Speaker 2: more too much information after. 1665 01:32:50,400 --> 01:33:02,800 Speaker 1: These messages, Higel, do you want to talk about Jim 1666 01:33:02,800 --> 01:33:04,559 Speaker 1: Morrison's dat issues. I'd love to. 1667 01:33:07,600 --> 01:33:11,000 Speaker 2: The infamous father. Father, Yes, son, I want to kill you. 1668 01:33:13,360 --> 01:33:15,360 Speaker 1: He sounds like an NPR host, So you do it 1669 01:33:15,479 --> 01:33:15,680 Speaker 1: like that. 1670 01:33:16,840 --> 01:33:21,280 Speaker 2: It's just it's like the rhythm of that. So yeah, father, yes, son, 1671 01:33:21,439 --> 01:33:24,240 Speaker 2: I want to kill you, like really jumping, jumping, and 1672 01:33:24,360 --> 01:33:27,719 Speaker 2: jumping ahead there with the answer no dramatic pause whatsoever, 1673 01:33:27,880 --> 01:33:30,559 Speaker 2: no time to waste uh. The passage from the end 1674 01:33:30,720 --> 01:33:33,120 Speaker 2: was inspired by Oedipus, but the theme had a personal 1675 01:33:33,200 --> 01:33:37,479 Speaker 2: resonance for Morrison. Or so the story goes Jim's complex 1676 01:33:37,600 --> 01:33:41,519 Speaker 2: relationship with his authoritarian parents without defining feature of his life, 1677 01:33:41,560 --> 01:33:45,640 Speaker 2: inspiring both his finest music and his finest drinking. On 1678 01:33:45,720 --> 01:33:48,080 Speaker 2: the rare occasions that Morrison spoke of his childhood, he 1679 01:33:48,160 --> 01:33:51,559 Speaker 2: described it with phrases like an open sore. His father, 1680 01:33:51,760 --> 01:33:55,120 Speaker 2: George Stephen Morrison, was a high ranking career naval officer. 1681 01:33:55,800 --> 01:33:58,000 Speaker 2: He gave his son the middle name Douglas, after General 1682 01:33:58,040 --> 01:34:00,840 Speaker 2: Douglas MacArthur, in hopes that the boy would follow in 1683 01:34:00,920 --> 01:34:06,000 Speaker 2: his footsteps. Narrator voice again, he would not. The family 1684 01:34:06,120 --> 01:34:08,639 Speaker 2: moved off, and Morrison's father was frequently absent on tours 1685 01:34:08,640 --> 01:34:11,240 Speaker 2: of duty. When he was home, he had little patience 1686 01:34:11,280 --> 01:34:15,479 Speaker 2: for disobedience. Morrison's younger brother, Andy, tells author Jerry Hopkins 1687 01:34:15,560 --> 01:34:19,000 Speaker 2: that he, Jim, and sister Anne rarely received physical discipline, 1688 01:34:19,040 --> 01:34:21,439 Speaker 2: but admits that they were routinely subjected to the military 1689 01:34:21,479 --> 01:34:25,519 Speaker 2: punishment known as dressing down, where someone just says something 1690 01:34:25,640 --> 01:34:30,519 Speaker 2: mean to you for a long time. But children, they 1691 01:34:30,640 --> 01:34:32,560 Speaker 2: never would have lived through Jim Morrison never would have 1692 01:34:32,640 --> 01:34:34,519 Speaker 2: lived through Twitter. He would have been chased off in 1693 01:34:34,640 --> 01:34:41,200 Speaker 2: a day. What's up, tweeter, Twitter world, this is the 1694 01:34:41,320 --> 01:34:44,120 Speaker 2: Mojo King And then immediately, like forty thousand people would 1695 01:34:44,120 --> 01:34:49,639 Speaker 2: have been like, dumb ass, dip go kill yourself. Yes, anyway, 1696 01:34:49,720 --> 01:34:52,160 Speaker 2: I guess their dad yelled at them like, oh, that's. 1697 01:34:52,080 --> 01:34:53,240 Speaker 1: Never happened to anyone before. 1698 01:34:55,680 --> 01:34:59,600 Speaker 2: Morrison's dad, though, was actually a big deal. After surviving 1699 01:35:00,040 --> 01:35:04,439 Speaker 2: Roarl Harbor, he served as an instructor for classified nuclear 1700 01:35:04,520 --> 01:35:08,120 Speaker 2: weapons programs in the southwest of the United States before 1701 01:35:08,200 --> 01:35:11,360 Speaker 2: being promoted to Rear Admiral, who was a familiar face 1702 01:35:11,400 --> 01:35:14,719 Speaker 2: around Cape Canaveral, the Pentagon, and the Naval golf course. 1703 01:35:15,479 --> 01:35:20,720 Speaker 2: In nineteen sixty four, aboard the USS Bonhomme Rechchad, which 1704 01:35:20,840 --> 01:35:25,120 Speaker 2: means a good Man Richard aircraft carrier, nicknamed the bony 1705 01:35:25,240 --> 01:35:32,200 Speaker 2: Dick by Jim Morrison. That's not even medium bunny. Admiral 1706 01:35:32,720 --> 01:35:36,240 Speaker 2: Rear Admiral Morrison commanded American naval forces during the Gulf 1707 01:35:36,360 --> 01:35:40,720 Speaker 2: of Tonkin Incident, a military clash widely credited as both 1708 01:35:40,800 --> 01:35:45,599 Speaker 2: being fabricated and the impetus of the Vietnam War. So yes, 1709 01:35:46,240 --> 01:35:50,400 Speaker 2: counterculture himbo legend Jim Morrison's dad was a navy dick 1710 01:35:50,479 --> 01:35:56,120 Speaker 2: who started possibly fabricated and started Vietnam. Life is fun 1711 01:35:57,560 --> 01:35:59,120 Speaker 2: I can't believe it's so funny that they were like, oh, 1712 01:35:59,200 --> 01:36:02,439 Speaker 2: he never touched us, but he would be mean verbally and. 1713 01:36:02,520 --> 01:36:03,400 Speaker 1: He started Vietnam. 1714 01:36:03,720 --> 01:36:07,160 Speaker 2: Well yeah, I mean, but that's that's aside from the parenting. 1715 01:36:08,280 --> 01:36:12,479 Speaker 1: Psychological abuse of this era of. 1716 01:36:12,600 --> 01:36:16,960 Speaker 2: Parenting that's like practically words of love, right, the fact 1717 01:36:17,000 --> 01:36:19,599 Speaker 2: that he was paying attention to them enough to insult them. 1718 01:36:20,680 --> 01:36:22,280 Speaker 2: It's an era when nuns would like. 1719 01:36:22,400 --> 01:36:23,000 Speaker 1: Beat you up. 1720 01:36:23,400 --> 01:36:27,639 Speaker 2: Yes, that is true, and little Jim was unbearably warped 1721 01:36:27,720 --> 01:36:31,559 Speaker 2: by daddy not being there and saying mean things when he. 1722 01:36:31,800 --> 01:36:36,840 Speaker 1: Was am my, I pocket here, I mean, I'm I 1723 01:36:37,000 --> 01:36:39,560 Speaker 1: think it was just a consequence of the of the 1724 01:36:39,680 --> 01:36:43,120 Speaker 1: generation gap. Sure, I just don't think they were going 1725 01:36:43,160 --> 01:36:44,880 Speaker 1: to ever see out of eye with one another, because 1726 01:36:44,920 --> 01:36:47,599 Speaker 1: we'll talk about talk about this turning point that occurred 1727 01:36:47,600 --> 01:36:49,360 Speaker 1: in their relationship in nineteen sixty four. 1728 01:36:49,520 --> 01:36:53,360 Speaker 2: Oh yes, another deeply traumatic moment in young upper middle 1729 01:36:53,400 --> 01:36:57,200 Speaker 2: class gym's upbringing. The Morrison children visited their father on 1730 01:36:57,439 --> 01:37:01,760 Speaker 2: the Bony Dick. Morrison sister and told Jordan, my mom 1731 01:37:01,840 --> 01:37:04,400 Speaker 2: said Jim had to cut his hair before he went aboard. 1732 01:37:05,040 --> 01:37:08,400 Speaker 2: Morrison complied, but it apparently wasn't short enough for his father, 1733 01:37:08,760 --> 01:37:10,920 Speaker 2: who sent him to the ship's barber for a more 1734 01:37:11,000 --> 01:37:14,680 Speaker 2: military cut. This was apparently humiliating for a twenty year 1735 01:37:14,720 --> 01:37:19,120 Speaker 2: old budding beatnik bore and Ann said to Jordan, I 1736 01:37:19,200 --> 01:37:20,840 Speaker 2: think that was the last time he cut his hair 1737 01:37:20,920 --> 01:37:24,240 Speaker 2: for quite a long time. This is actually unforgivable, though, 1738 01:37:24,240 --> 01:37:26,439 Speaker 2: I take back all this. After learning of his son's 1739 01:37:26,520 --> 01:37:29,080 Speaker 2: desire to become a rock singer, the elder Morrison wrote 1740 01:37:29,120 --> 01:37:31,599 Speaker 2: him a letter urging him to quote give up any 1741 01:37:31,640 --> 01:37:34,200 Speaker 2: idea of singing or any connection with the music group, 1742 01:37:34,320 --> 01:37:36,880 Speaker 2: because I've what I consider to be a complete lack 1743 01:37:36,960 --> 01:37:38,360 Speaker 2: of talent in this direction. 1744 01:37:40,840 --> 01:37:46,759 Speaker 1: Murdered, but also not incorrect at the time. 1745 01:37:47,560 --> 01:37:50,560 Speaker 2: If he was twenty, what evidence do we have that 1746 01:37:50,640 --> 01:37:53,040 Speaker 2: Jim Morrison would have been like was a musical child? 1747 01:37:54,240 --> 01:37:57,040 Speaker 1: None? I mean that I know of. Yeah, seems like a. 1748 01:37:57,160 --> 01:38:01,400 Speaker 2: Eminently reasonable response if you're weird bookish kid tells you 1749 01:38:01,479 --> 01:38:03,479 Speaker 2: he's going to be a musician and you're like, no, 1750 01:38:06,320 --> 01:38:11,320 Speaker 2: you're bad at that. I just it's just so funny 1751 01:38:11,360 --> 01:38:14,759 Speaker 2: to me man, one of the most legendary recorded daddy 1752 01:38:14,840 --> 01:38:17,679 Speaker 2: issue tantrums of all time. And it just boils down 1753 01:38:17,720 --> 01:38:20,040 Speaker 2: to he was mean to me and cut my hair 1754 01:38:20,160 --> 01:38:24,519 Speaker 2: once and didn't support me when I wanted, with no 1755 01:38:24,720 --> 01:38:28,400 Speaker 2: training or prior experience, to become a musician. People talk 1756 01:38:28,479 --> 01:38:31,840 Speaker 2: about our generation needing handholding, but Jesus Christ pitching a 1757 01:38:32,000 --> 01:38:33,680 Speaker 2: marty what do you call it? 1758 01:38:33,880 --> 01:38:35,560 Speaker 1: The British pitching a marred. 1759 01:38:36,000 --> 01:38:40,920 Speaker 2: Because someone cut expression, getting strappy because someone cut your hair? 1760 01:38:43,000 --> 01:38:43,040 Speaker 3: What? 1761 01:38:45,840 --> 01:38:47,880 Speaker 2: What's your catapoint? What do you have to say if 1762 01:38:47,880 --> 01:38:51,960 Speaker 2: your defend Jim Morrison Smiley, you're the nice guy. You're 1763 01:38:52,000 --> 01:38:53,240 Speaker 2: the nice guy, right, do it? 1764 01:38:54,160 --> 01:38:54,400 Speaker 3: Do it? 1765 01:38:56,600 --> 01:38:59,160 Speaker 1: It's hard to not be accepted for who you are 1766 01:38:59,439 --> 01:39:02,120 Speaker 1: from the the people that are supposed to give you 1767 01:39:02,240 --> 01:39:04,800 Speaker 1: unconditional love, is my is my take. 1768 01:39:05,320 --> 01:39:08,479 Speaker 2: That's that's a lovely and true sentiment. But we're not 1769 01:39:08,560 --> 01:39:12,680 Speaker 2: talking about him wanting to be trans or gay. If 1770 01:39:12,720 --> 01:39:15,040 Speaker 2: you came to your dad as like someone who was 1771 01:39:15,120 --> 01:39:21,639 Speaker 2: like a pudgy little reader who and I did right, 1772 01:39:21,680 --> 01:39:24,839 Speaker 2: But you weren't causing old women to cry on public buses. 1773 01:39:25,520 --> 01:39:27,800 Speaker 2: I don't know, Man, seems eminently reasonable to me. 1774 01:39:29,360 --> 01:39:30,799 Speaker 1: Okay, my parents didn't. 1775 01:39:30,560 --> 01:39:33,120 Speaker 2: Tell me that and as many words, but they were like, well, 1776 01:39:33,439 --> 01:39:35,839 Speaker 2: don't major in it. Make sure you have a fallback. 1777 01:39:36,160 --> 01:39:39,599 Speaker 2: Like sorry, you know Jim that your dad said. It's 1778 01:39:39,600 --> 01:39:42,920 Speaker 2: slightly meaner. But to be like, I will never speak 1779 01:39:42,960 --> 01:39:45,000 Speaker 2: to you again because of a haircut and a lack 1780 01:39:45,080 --> 01:39:49,120 Speaker 2: of support. Like, okay, Man, to be a nom thing, 1781 01:39:49,160 --> 01:39:49,879 Speaker 2: I can understand. 1782 01:39:52,000 --> 01:39:56,479 Speaker 1: I mean, I don't know he was started Vietnam. 1783 01:39:56,640 --> 01:39:57,200 Speaker 4: Yeah, I don't know why. 1784 01:39:57,200 --> 01:40:00,560 Speaker 2: I'm going to bat for Rear Admiral Douglas Morris, for 1785 01:40:00,760 --> 01:40:05,360 Speaker 2: Steven whatever his name was, Like, I think it's I 1786 01:40:05,520 --> 01:40:09,000 Speaker 2: just think it's funny, man, this groundbreaking. Once in a generation, 1787 01:40:09,320 --> 01:40:13,080 Speaker 2: Ed'll pool ran and it's like he wasn't nice to me. Well, no, 1788 01:40:13,479 --> 01:40:15,440 Speaker 2: he didn't tell me I could do anything. 1789 01:40:15,120 --> 01:40:18,240 Speaker 1: In my life. Jim. Never, I don't to my knowledge, 1790 01:40:18,360 --> 01:40:20,720 Speaker 1: never went on record. There could have been some kind 1791 01:40:20,760 --> 01:40:25,759 Speaker 1: of huge private blowout. Also the fact that he started 1792 01:40:26,120 --> 01:40:29,000 Speaker 1: Vietnam might have done it, you know, I mean thinking 1793 01:40:29,000 --> 01:40:31,280 Speaker 1: about families that have ripped apart now for people who 1794 01:40:31,280 --> 01:40:33,800 Speaker 1: are voting in a way that they don't Oh, that's true. 1795 01:40:34,439 --> 01:40:39,800 Speaker 2: I mean, but again, was Jim Morrison like seriously politically 1796 01:40:39,880 --> 01:40:41,519 Speaker 2: invested I. 1797 01:40:41,680 --> 01:40:43,640 Speaker 1: That I don't know that. I don't know. 1798 01:40:44,439 --> 01:40:47,080 Speaker 2: You don't think someone was maybe like Jim do like 1799 01:40:47,080 --> 01:40:50,720 Speaker 2: an anti war thing. He's like, oh fine, not top 1800 01:40:50,800 --> 01:40:51,680 Speaker 2: of mind for him. 1801 01:40:51,840 --> 01:40:53,280 Speaker 1: I have to assume. 1802 01:40:55,479 --> 01:40:57,880 Speaker 2: He's like doodling a snake in the margins and they're like, 1803 01:40:57,960 --> 01:41:04,760 Speaker 2: say something about war being bad. All right, you can 1804 01:41:04,840 --> 01:41:08,600 Speaker 2: cut all this out. I'm just riffic on the absurdity 1805 01:41:08,640 --> 01:41:11,800 Speaker 2: of Jam Morrison's entire being. I don't know, it's fun 1806 01:41:11,880 --> 01:41:17,840 Speaker 2: for me. I'm just amusing myself. Yeah, dad, his sister 1807 01:41:17,960 --> 01:41:19,959 Speaker 2: told him that their dad was a musician. 1808 01:41:21,680 --> 01:41:23,240 Speaker 1: Oh yeah, but he didn't like rock and roll. 1809 01:41:23,920 --> 01:41:25,519 Speaker 4: But still, man, if. 1810 01:41:25,439 --> 01:41:28,920 Speaker 2: You like Little Rebellious teen is like, I'm going to 1811 01:41:28,960 --> 01:41:31,840 Speaker 2: become a musician and you're already a musician, and you're like, 1812 01:41:31,960 --> 01:41:35,000 Speaker 2: you have displayed no aptitude or interest in this until now. 1813 01:41:36,000 --> 01:41:39,400 Speaker 2: I don't think it's gonna work. That seems eminently reasonable. 1814 01:41:39,720 --> 01:41:41,840 Speaker 1: Would that have seemed eminently reasonable to you as a 1815 01:41:41,920 --> 01:41:43,920 Speaker 1: twenty year old with a new dream? 1816 01:41:45,200 --> 01:41:47,519 Speaker 2: H No, But I sucked it up and did what 1817 01:41:47,600 --> 01:41:49,800 Speaker 2: they wanted anyway, and just lived with a chip on 1818 01:41:49,880 --> 01:41:54,720 Speaker 2: my shoulder like the rest of us. Damn didn't make 1819 01:41:54,760 --> 01:41:56,360 Speaker 2: it the entire well, I did make it the entire 1820 01:41:56,400 --> 01:41:58,920 Speaker 2: crux of my being. There goes another one star review. 1821 01:42:01,320 --> 01:42:05,080 Speaker 1: I will edit this generously. Thank you so. Regardless of 1822 01:42:05,160 --> 01:42:08,680 Speaker 1: what went down, Jim effectively severed all contact with his 1823 01:42:08,800 --> 01:42:11,760 Speaker 1: father after he told him he didn't think it any 1824 01:42:11,840 --> 01:42:14,840 Speaker 1: talent as a musician, and they reportedly never saw each 1825 01:42:14,840 --> 01:42:17,040 Speaker 1: other again. I think they I think I read that 1826 01:42:17,120 --> 01:42:21,040 Speaker 1: they spoke on the phone once. Sounds reasonable, but making 1827 01:42:21,120 --> 01:42:25,760 Speaker 1: this even more tragic, Apparently Admiral Morrison understood why his 1828 01:42:25,880 --> 01:42:29,240 Speaker 1: son was staying away. He admitted privately in a nineteen 1829 01:42:29,320 --> 01:42:32,600 Speaker 1: seventy letter, his reluctance to communicate with me again is 1830 01:42:32,880 --> 01:42:36,719 Speaker 1: to me quite understandable. That is the most mid century 1831 01:42:36,880 --> 01:42:42,040 Speaker 1: male response to that. Yes, yes, it is. Yes. When 1832 01:42:42,080 --> 01:42:45,080 Speaker 1: Elected Records approached the doors to write press biographies for 1833 01:42:45,120 --> 01:42:48,599 Speaker 1: the debut album, Jim refused to name his parents and siblings, 1834 01:42:48,760 --> 01:42:50,640 Speaker 1: instead just writing deceased. 1835 01:42:51,240 --> 01:42:53,519 Speaker 2: And isn't the Oliver Stone like portrays as it being 1836 01:42:53,560 --> 01:42:55,880 Speaker 2: like a gotcha moment where some journalist is like, I 1837 01:42:56,040 --> 01:42:57,000 Speaker 2: found your family. 1838 01:42:57,439 --> 01:42:57,639 Speaker 4: Yeah. 1839 01:42:57,800 --> 01:43:00,800 Speaker 1: I don't know if that was played up for dramatic 1840 01:43:00,840 --> 01:43:03,160 Speaker 1: effect or not. I don't think that was totally how 1841 01:43:03,200 --> 01:43:06,360 Speaker 1: it went down. But for a time, even Jim's close 1842 01:43:06,439 --> 01:43:08,680 Speaker 1: friends thought he was an orphan. It was easy to 1843 01:43:08,760 --> 01:43:12,439 Speaker 1: lie back then. Well, yeah, that's true. His split from 1844 01:43:12,479 --> 01:43:15,160 Speaker 1: his family was so total that a didn't even realize 1845 01:43:15,200 --> 01:43:18,200 Speaker 1: he was in a band. Jim's brother Andy, only found 1846 01:43:18,240 --> 01:43:20,800 Speaker 1: out when a classmate showed him the Doors album cover 1847 01:43:20,960 --> 01:43:22,800 Speaker 1: and pointed out that he kind of looked like the 1848 01:43:22,920 --> 01:43:26,200 Speaker 1: lead singer. A friend of mine brought me the album. 1849 01:43:26,280 --> 01:43:28,599 Speaker 1: He said, I've been listening to Light My Fire for months, 1850 01:43:28,640 --> 01:43:30,960 Speaker 1: and I didn't know. That's how we found out. We 1851 01:43:31,080 --> 01:43:33,280 Speaker 1: hadn't seen Jim or heard from him in two years. 1852 01:43:33,760 --> 01:43:35,640 Speaker 1: I played the album for my parents the day I 1853 01:43:35,760 --> 01:43:38,120 Speaker 1: got it, the day after my friend told me about it. 1854 01:43:38,760 --> 01:43:42,200 Speaker 1: Dad knows music. He plays piano and clarinet. Dad likes 1855 01:43:42,200 --> 01:43:45,920 Speaker 1: strong melodies. He hates electric guitars. He likes the old ballads. 1856 01:43:46,000 --> 01:43:48,519 Speaker 1: He doesn't like rock. He listened to the album and 1857 01:43:48,640 --> 01:43:53,439 Speaker 1: afterwards he didn't say a thing, not a thing. Jim's mother, Clara, 1858 01:43:53,560 --> 01:43:57,200 Speaker 1: made attempts to contact Jim through Electra Records, but Jim 1859 01:43:57,280 --> 01:44:00,640 Speaker 1: did not answer. He barred her from visiting him backstage 1860 01:44:00,720 --> 01:44:03,000 Speaker 1: during a gig in Washington, d C. But he did 1861 01:44:03,080 --> 01:44:05,080 Speaker 1: give her a front row seat for the concert. 1862 01:44:05,280 --> 01:44:07,760 Speaker 2: Oh, which one is it? Which one is it? 1863 01:44:08,439 --> 01:44:09,000 Speaker 1: Which one? What? 1864 01:44:10,040 --> 01:44:11,679 Speaker 2: You're not going to talk to her, but your makers 1865 01:44:11,680 --> 01:44:13,800 Speaker 2: sit front row? Or you rub your wang all over 1866 01:44:13,960 --> 01:44:15,800 Speaker 2: Mike's stand and talk about pork in her. 1867 01:44:17,280 --> 01:44:20,240 Speaker 1: Yeah. Yeah. Those in attendance at that gig said that 1868 01:44:20,360 --> 01:44:24,599 Speaker 1: the edible section of the end packed a strong punch 1869 01:44:24,720 --> 01:44:29,600 Speaker 1: that night, So uh yeah, yeah. I guess maybe the 1870 01:44:29,640 --> 01:44:31,200 Speaker 1: moral of the story here is you don't really want 1871 01:44:31,240 --> 01:44:35,839 Speaker 1: to get into Jim Morrison's head. Throughout the band's travels, 1872 01:44:36,200 --> 01:44:38,200 Speaker 1: Jim Morrison managed to keep in touch with his younger 1873 01:44:38,240 --> 01:44:40,920 Speaker 1: brother Andy, who was just nineteen in nineteen sixty seven, 1874 01:44:41,160 --> 01:44:42,800 Speaker 1: and he would say, I told him that Mom felt 1875 01:44:42,880 --> 01:44:45,479 Speaker 1: really bad that he refused to see her. He told 1876 01:44:45,520 --> 01:44:47,960 Speaker 1: me that if he called once, they'd expect calls every 1877 01:44:48,000 --> 01:44:50,600 Speaker 1: month or so. He said, either you break it or 1878 01:44:50,640 --> 01:44:53,439 Speaker 1: you're part of the family. There's no halfway point. Either 1879 01:44:53,520 --> 01:44:54,880 Speaker 1: you talk all the time or. 1880 01:44:54,920 --> 01:44:55,400 Speaker 4: Not at all. 1881 01:44:56,240 --> 01:45:01,519 Speaker 1: So Jim went with the not at all option. Admiral 1882 01:45:01,600 --> 01:45:04,360 Speaker 1: Morrison declined to speak publicly about his son until the 1883 01:45:04,439 --> 01:45:07,000 Speaker 1: very end of his life. He would say, we looked 1884 01:45:07,040 --> 01:45:09,960 Speaker 1: back on him with great delight. This is taped just 1885 01:45:10,000 --> 01:45:12,360 Speaker 1: before his death in two thousand and eight. I had 1886 01:45:12,360 --> 01:45:14,240 Speaker 1: a feeling that he felt we just as soon not 1887 01:45:14,360 --> 01:45:17,040 Speaker 1: be associated with his career. He knew I didn't think 1888 01:45:17,040 --> 01:45:19,519 Speaker 1: that rock music was the best goal for him. Maybe 1889 01:45:19,560 --> 01:45:23,320 Speaker 1: he was trying to protect us. John Densmore proposed another 1890 01:45:23,360 --> 01:45:26,559 Speaker 1: reason than his memoir. Personally, I think the opposite is true, 1891 01:45:26,840 --> 01:45:29,120 Speaker 1: that Jim did it to proclaim independence and cut the 1892 01:45:29,240 --> 01:45:30,960 Speaker 1: umbilical cord once and for all. 1893 01:45:31,439 --> 01:45:33,599 Speaker 2: Can I give you a Jim Morrison story I just found, 1894 01:45:34,120 --> 01:45:36,479 Speaker 2: Yeah please. The Doors were on their way to play 1895 01:45:36,560 --> 01:45:39,040 Speaker 2: a show at the University of Michigan in nineteen sixty seven, 1896 01:45:39,160 --> 01:45:43,280 Speaker 2: which is a well documented debacle, but apparently on their way. 1897 01:45:43,360 --> 01:45:45,280 Speaker 2: On the drive, the rest of the band wanted to 1898 01:45:45,360 --> 01:45:49,240 Speaker 2: stop and get ice cream, which Jim said was for 1899 01:45:49,439 --> 01:45:54,280 Speaker 2: babies and demanded whiskey instead. The band got ice cream 1900 01:45:54,400 --> 01:45:57,080 Speaker 2: and Jim got whiskey, and something about the band eating 1901 01:45:57,160 --> 01:45:59,880 Speaker 2: ice cream put him in a really foul mood. He 1902 01:46:00,240 --> 01:46:04,160 Speaker 2: pounded the rest of the whiskey and got faced. He 1903 01:46:04,280 --> 01:46:06,679 Speaker 2: was too drunk to go on, didn't come out on stage. 1904 01:46:06,760 --> 01:46:08,920 Speaker 2: The band went off stage for like a half an hour. 1905 01:46:09,400 --> 01:46:12,880 Speaker 2: They come back out and Jim just wanders the stage, 1906 01:46:13,080 --> 01:46:18,920 Speaker 2: making weird noises and occasionally yelling into the microphone. Jim 1907 01:46:19,000 --> 01:46:21,880 Speaker 2: started then hurling things at the audience and then just 1908 01:46:22,000 --> 01:46:25,240 Speaker 2: sat down on stage and Ray Manzar carried him off stage. 1909 01:46:26,000 --> 01:46:27,639 Speaker 2: Is this your shaman people? 1910 01:46:29,360 --> 01:46:30,120 Speaker 1: Is this your king? 1911 01:46:30,320 --> 01:46:32,920 Speaker 2: Is this your king? Your lizard king? Is this your 1912 01:46:33,000 --> 01:46:38,000 Speaker 2: lizard king? That's actually like probably a Door's lyric somewhere, 1913 01:46:38,120 --> 01:46:39,240 Speaker 2: like scrapped in the notebooks. 1914 01:46:39,360 --> 01:46:44,360 Speaker 1: Ice cream is for babies, so Doors biographers would characterize 1915 01:46:44,400 --> 01:46:48,000 Speaker 1: this estrangement between the Morrisons as a clash between the generations, 1916 01:46:48,120 --> 01:46:52,000 Speaker 1: a clash between the rebellious rocker and his disciplinarian father. 1917 01:46:52,160 --> 01:46:54,479 Speaker 1: But Jim's sister Anne spoke to me a few years 1918 01:46:54,520 --> 01:46:57,920 Speaker 1: ago and offered a different take. She maintains that the 1919 01:46:58,000 --> 01:47:01,280 Speaker 1: reality of the relationship was more nuanced. She told me, 1920 01:47:01,320 --> 01:47:03,479 Speaker 1: I used to get upset because people would assume that 1921 01:47:03,560 --> 01:47:06,120 Speaker 1: all admirals and generals were mean and tough. But my 1922 01:47:06,240 --> 01:47:09,360 Speaker 1: dad was sweet. He was funny and articulate, and he 1923 01:47:09,479 --> 01:47:11,960 Speaker 1: never was very angry. He just wasn't like that, but 1924 01:47:12,040 --> 01:47:14,760 Speaker 1: he did expect manners. We were brought up with yes sir, 1925 01:47:14,960 --> 01:47:17,920 Speaker 1: no sir, yes ma'am, and he and Jim certainly didn't 1926 01:47:17,920 --> 01:47:19,320 Speaker 1: see eye to eye on a lot of things, so 1927 01:47:19,360 --> 01:47:23,200 Speaker 1: they clashed a little, but not horribly. And when Jim's 1928 01:47:23,280 --> 01:47:26,040 Speaker 1: dad was restationed to England as Commander in Chief of 1929 01:47:26,080 --> 01:47:28,920 Speaker 1: the US Naval Forces in Europe, his younger sister Anne 1930 01:47:28,960 --> 01:47:32,160 Speaker 1: went along too, and much like their brother Andy, for 1931 01:47:32,320 --> 01:47:34,720 Speaker 1: years she didn't know what became of Jim. I would 1932 01:47:34,760 --> 01:47:37,200 Speaker 1: worry about him, she told me. I thought, what is 1933 01:47:37,240 --> 01:47:39,479 Speaker 1: going to happen to him? He doesn't like to work. 1934 01:47:39,960 --> 01:47:43,560 Speaker 1: All he likes to do is All he likes to 1935 01:47:43,640 --> 01:47:47,640 Speaker 1: do is write and read and have experiences. Same I 1936 01:47:47,720 --> 01:47:50,479 Speaker 1: asked my girlfriend in college what happens to fifty year 1937 01:47:50,520 --> 01:47:53,840 Speaker 1: old beat Nicks? They become podcasters? Because I didn't know 1938 01:47:53,920 --> 01:47:56,880 Speaker 1: how he could survive. And then one day in nineteen 1939 01:47:56,920 --> 01:48:00,080 Speaker 1: sixty seven, she received a package from her mother. It 1940 01:48:00,160 --> 01:48:02,360 Speaker 1: was a copy of The Door's debut album, and it 1941 01:48:02,439 --> 01:48:04,479 Speaker 1: took her a moment to realize that the handsome guy 1942 01:48:04,560 --> 01:48:07,040 Speaker 1: staring back at her on the cover was her brother. 1943 01:48:07,960 --> 01:48:10,479 Speaker 1: It was a complete surprise. She said, I had no 1944 01:48:10,600 --> 01:48:12,599 Speaker 1: idea Jim was in the Doors. I was hearing Light 1945 01:48:12,720 --> 01:48:15,080 Speaker 1: My Fire in London, but I didn't have any relationship 1946 01:48:15,120 --> 01:48:18,320 Speaker 1: to it that My mother sent me that album. That's 1947 01:48:18,360 --> 01:48:20,960 Speaker 1: always been my favorite Doors cover, that album cover, because 1948 01:48:21,000 --> 01:48:22,880 Speaker 1: it was such a shock to see it. That was 1949 01:48:22,920 --> 01:48:26,240 Speaker 1: such an amazing moment, And once the surprise wore off, 1950 01:48:26,280 --> 01:48:28,679 Speaker 1: she put the record on the turntable and immediately fell 1951 01:48:28,760 --> 01:48:31,840 Speaker 1: for the music. I didn't take any time to love 1952 01:48:31,920 --> 01:48:35,320 Speaker 1: all of it, she said. It's fabulous. She even enjoyed 1953 01:48:35,360 --> 01:48:41,479 Speaker 1: the end, which would have raised eyebrows as a immediate 1954 01:48:41,520 --> 01:48:46,519 Speaker 1: family member. Yeah, but Anne rejects the notion that this 1955 01:48:46,720 --> 01:48:50,280 Speaker 1: song was literally directed at his family and a comment 1956 01:48:50,360 --> 01:48:53,040 Speaker 1: on their strained family ties. She told me, I have 1957 01:48:53,160 --> 01:48:55,479 Speaker 1: to dispel that notion. It just makes me crazy when 1958 01:48:55,479 --> 01:48:58,160 Speaker 1: I hear people say, Oh, were your parents upset about 1959 01:48:58,160 --> 01:49:00,920 Speaker 1: the end? That was awful? Tell them no, No, that 1960 01:49:01,080 --> 01:49:04,040 Speaker 1: was just an Oedipus story redone in song. It was amazing. 1961 01:49:04,600 --> 01:49:06,439 Speaker 1: I didn't take it as against our parents like some 1962 01:49:06,560 --> 01:49:09,280 Speaker 1: people did. People were just in a panic about it. 1963 01:49:09,479 --> 01:49:11,200 Speaker 1: But no, I didn't see it that way at all. 1964 01:49:12,960 --> 01:49:15,240 Speaker 1: And Jim's sister, Anne, moved back to California with her 1965 01:49:15,320 --> 01:49:17,920 Speaker 1: husband an infant shortly after discovering that her brother was 1966 01:49:17,960 --> 01:49:20,519 Speaker 1: a rock star, and hearing that the Doors were due 1967 01:49:20,560 --> 01:49:23,320 Speaker 1: to fly into Los Angeles, she decided to surprise Jim 1968 01:49:23,360 --> 01:49:26,080 Speaker 1: at the airport. She told me, we went and met him, 1969 01:49:26,280 --> 01:49:28,960 Speaker 1: my husband and my little son. Jim looked at me 1970 01:49:29,040 --> 01:49:32,639 Speaker 1: and said, you don't happen to be my sister? 1971 01:49:32,800 --> 01:49:33,000 Speaker 4: Do you? 1972 01:49:34,200 --> 01:49:37,400 Speaker 1: Who? Among us? No? Higu, you have a younger sister 1973 01:49:37,560 --> 01:49:41,800 Speaker 1: as do I? Yeah? Yeah? Have you ever had to 1974 01:49:41,880 --> 01:49:45,800 Speaker 1: ask them if they happened to be your sister? I 1975 01:49:45,840 --> 01:49:47,720 Speaker 1: mean they both they both have kids and they both 1976 01:49:47,760 --> 01:49:48,599 Speaker 1: are married. Yeah. 1977 01:49:48,720 --> 01:49:53,559 Speaker 2: Well, you know, once again, total total ocean of salt, 1978 01:49:53,920 --> 01:49:56,840 Speaker 2: because I've never been as deranged as Jim Morrison was 1979 01:49:57,360 --> 01:50:01,760 Speaker 2: for as long, maybe in short bursts, never as long. Yes, yes, 1980 01:50:02,120 --> 01:50:03,960 Speaker 2: maybe he was genuinely confused. 1981 01:50:04,560 --> 01:50:09,240 Speaker 1: Maybe maybe, I mean perhaps. So began a joyful reunion 1982 01:50:09,280 --> 01:50:12,639 Speaker 1: between the Morrison siblings, and I love this. His sister 1983 01:50:12,760 --> 01:50:15,120 Speaker 1: dropped in on a Doors session, and I guess she 1984 01:50:15,200 --> 01:50:17,280 Speaker 1: brought her little son, and he made up a song 1985 01:50:17,360 --> 01:50:21,000 Speaker 1: on the spot about the little boy. And she visited 1986 01:50:21,040 --> 01:50:23,599 Speaker 1: the home that Jim shared with his girlfriend, Pam Corson, 1987 01:50:24,439 --> 01:50:27,840 Speaker 1: and they all cooked a Thanksgiving meal together. We'd see 1988 01:50:27,920 --> 01:50:29,840 Speaker 1: him but not often. Anne told me we were all 1989 01:50:29,920 --> 01:50:32,639 Speaker 1: in our twenties. I was pregnant. People were just busy 1990 01:50:32,680 --> 01:50:35,040 Speaker 1: with their own lives. You didn't know that soon it 1991 01:50:35,080 --> 01:50:37,719 Speaker 1: would be the last time. There just wasn't an urgency, 1992 01:50:37,920 --> 01:50:40,320 Speaker 1: which was the sad thing. I didn't never see him 1993 01:50:40,320 --> 01:50:44,000 Speaker 1: perform I wish I had, And she found out of 1994 01:50:44,000 --> 01:50:47,519 Speaker 1: by her brother's death from a radio report. It's too bad, 1995 01:50:47,680 --> 01:50:50,519 Speaker 1: she told me. Jim's girlfriend Pam called my dad after 1996 01:50:50,640 --> 01:50:54,400 Speaker 1: Jim died and said they talked about Jim reconnecting. It's 1997 01:50:54,439 --> 01:50:56,960 Speaker 1: only been five or six years. That's really not very 1998 01:50:57,000 --> 01:51:00,479 Speaker 1: long in terms of most lives. In the decades that 1999 01:51:00,560 --> 01:51:03,320 Speaker 1: followed was be kind of hinted at earlier. Admiral Morrison 2000 01:51:03,400 --> 01:51:06,880 Speaker 1: realized the enormous mark that his son had made in 2001 01:51:07,000 --> 01:51:09,519 Speaker 1: the world of art. He visited his son's grave at 2002 01:51:09,560 --> 01:51:13,920 Speaker 1: Pierre Lachet Cemetery in Paris, and when he knew headstone 2003 01:51:14,040 --> 01:51:17,120 Speaker 1: was placed on the grave, Admiral Morrison wrote an epitaph 2004 01:51:17,240 --> 01:51:20,960 Speaker 1: in Greek which translates to true to his own spirit, 2005 01:51:21,840 --> 01:51:24,960 Speaker 1: which I think he's a beautiful message between father and son, 2006 01:51:25,040 --> 01:51:26,880 Speaker 1: especially a father and son that didn't see out of 2007 01:51:26,960 --> 01:51:30,680 Speaker 1: eye and told me, that just really encapsulates what my 2008 01:51:30,800 --> 01:51:33,840 Speaker 1: dad figured out. Finally, everyone didn't think he got it, 2009 01:51:33,920 --> 01:51:36,120 Speaker 1: and that he really didn't understand, but he got Jim. 2010 01:51:36,680 --> 01:51:39,760 Speaker 1: I love this and Jim's sister worked as a middle 2011 01:51:39,800 --> 01:51:42,000 Speaker 1: school teacher, and as part of her lessons, she would 2012 01:51:42,080 --> 01:51:45,439 Speaker 1: play her brother's spoken word piece Horse Latitudes, which he 2013 01:51:45,479 --> 01:51:48,760 Speaker 1: had written as a high school student. I wanted to 2014 01:51:48,800 --> 01:51:51,120 Speaker 1: show the class that music is poetry, she told me. 2015 01:51:51,360 --> 01:51:53,559 Speaker 1: I made it dramatic and turned it up pretty loud. 2016 01:51:54,000 --> 01:51:56,360 Speaker 1: I just love the tone and sound of Jim's voice. 2017 01:51:56,520 --> 01:51:59,679 Speaker 1: Great voice, It makes words liquid. He makes it flow 2018 01:51:59,760 --> 01:52:03,000 Speaker 1: so beautifully. And though she didn't really broadcast the fact 2019 01:52:03,040 --> 01:52:06,240 Speaker 1: that she was the sister of Rock Royalty, eventually we 2020 01:52:06,560 --> 01:52:08,760 Speaker 1: would get out around the school, she said. I worked 2021 01:52:08,760 --> 01:52:10,960 Speaker 1: at the same school for almost thirty years, so everyone 2022 01:52:11,080 --> 01:52:14,200 Speaker 1: ended up knowing. It's all been fun for me. Someone 2023 01:52:14,240 --> 01:52:16,400 Speaker 1: asked me of having a famous sibling rule in my life. 2024 01:52:17,120 --> 01:52:19,080 Speaker 1: For me, it was just a joy to see Jim 2025 01:52:19,160 --> 01:52:22,120 Speaker 1: grow and do what he did, except for the tragedy 2026 01:52:22,200 --> 01:52:22,720 Speaker 1: at the end. 2027 01:52:23,520 --> 01:52:25,680 Speaker 2: Do you know the Barney's Beanery in West Hollywood put 2028 01:52:25,760 --> 01:52:28,200 Speaker 2: up a plaque commemorating where Jim Morrison pissed on their bar. 2029 01:52:29,040 --> 01:52:32,800 Speaker 1: No recently, because I would remember that I've been to 2030 01:52:32,840 --> 01:52:33,599 Speaker 1: the Barney's Beanery. 2031 01:52:34,280 --> 01:52:36,479 Speaker 2: Maybe they wanted Maybe they wanted to in the nineties 2032 01:52:36,520 --> 01:52:39,280 Speaker 2: he has where Janis had her last drink, and Howski 2033 01:52:39,360 --> 01:52:43,679 Speaker 2: and all those other Yeah. The woman that he married 2034 01:52:43,800 --> 01:52:47,479 Speaker 2: speculated he had twenty paternity suits against it pending when 2035 01:52:47,560 --> 01:52:47,920 Speaker 2: he died. 2036 01:52:48,120 --> 01:52:52,080 Speaker 1: Oh, that's not a real marriage, though, that didn't claim 2037 01:52:52,439 --> 01:52:56,320 Speaker 1: first No, first of all, No, that's like a myth. 2038 01:52:56,880 --> 01:52:59,960 Speaker 2: First of all, that's not cast dispersions on the fine 2039 01:53:00,320 --> 01:53:06,880 Speaker 2: tradition of Celtic handfasting ceremonies. Jordan, who are you to 2040 01:53:07,040 --> 01:53:12,360 Speaker 2: say it's not a real marriage? Don't speak for them anyway, 2041 01:53:12,400 --> 01:53:13,280 Speaker 2: The pissing thing's funny. 2042 01:53:13,400 --> 01:53:15,479 Speaker 1: Well, as we dosched on earlier, sessions for The Door's 2043 01:53:15,560 --> 01:53:18,760 Speaker 1: debut went fairly quickly. Raymond Zeric would describe it as 2044 01:53:18,920 --> 01:53:20,960 Speaker 1: essentially the Doors live at the whiskey of Go Go, 2045 01:53:21,200 --> 01:53:24,759 Speaker 1: but in a recording studio, and the record was completed 2046 01:53:24,800 --> 01:53:26,840 Speaker 1: by the end of the summer of nineteen sixty six, 2047 01:53:26,920 --> 01:53:31,000 Speaker 1: probably exactly around fifty eight years ago right now. Still 2048 01:53:31,200 --> 01:53:34,080 Speaker 1: Electric Records president Jack Holdsman decided to hold the record's 2049 01:53:34,080 --> 01:53:37,160 Speaker 1: release until the following January of nineteen sixty seven to 2050 01:53:37,280 --> 01:53:40,080 Speaker 1: avoid the crush of albums earmarked for the Christmas market. 2051 01:53:40,880 --> 01:53:43,360 Speaker 1: And if the Doors were disappointed by this delay, they 2052 01:53:43,400 --> 01:53:47,920 Speaker 1: were happy with Holtzman's ingenious promotional scheme, a massive billboard 2053 01:53:48,000 --> 01:53:50,839 Speaker 1: looming over the Sunset Strip. Up to this point, billboards 2054 01:53:50,880 --> 01:53:54,560 Speaker 1: had been used to promote films, and food, and cigarettes 2055 01:53:54,600 --> 01:53:56,599 Speaker 1: and all sorts of products, but this was the first 2056 01:53:56,640 --> 01:53:59,120 Speaker 1: time a rock band would appear on one. The ad 2057 01:53:59,200 --> 01:54:03,280 Speaker 1: proclaimed break on Through with an electrifying new album, complete 2058 01:54:03,320 --> 01:54:06,880 Speaker 1: with Joel Brodsky's striking image of the group that graced 2059 01:54:06,920 --> 01:54:09,880 Speaker 1: the album's back cover. Located next to the Chateau Marmal, 2060 01:54:10,120 --> 01:54:13,200 Speaker 1: a short distance from the club scene where the Doors 2061 01:54:13,240 --> 01:54:16,599 Speaker 1: had performed just a few months earlier, this prime location 2062 01:54:16,840 --> 01:54:19,760 Speaker 1: cost a whopping twelve hundred dollars a month, or about 2063 01:54:19,760 --> 01:54:24,360 Speaker 1: eleven thousand dollars today. The venture was, according to Jack Holtzman, 2064 01:54:24,439 --> 01:54:26,760 Speaker 1: a calling card for the artist, but it was a 2065 01:54:26,920 --> 01:54:30,120 Speaker 1: very large calling card. He believed the ad would catch 2066 01:54:30,160 --> 01:54:32,440 Speaker 1: the attention of Los Angeles DJs on their way to 2067 01:54:32,520 --> 01:54:35,160 Speaker 1: work and peaque their interest, and he was right, giving 2068 01:54:35,240 --> 01:54:38,240 Speaker 1: birth to a whole new field of artists promotion all 2069 01:54:38,320 --> 01:54:41,320 Speaker 1: throughout the seventies and eighties. That whole segment of Sunset 2070 01:54:41,400 --> 01:54:44,320 Speaker 1: Strip was just a wash with rock billboards. I mean, 2071 01:54:44,400 --> 01:54:48,080 Speaker 1: hot people sell again. 2072 01:54:48,480 --> 01:54:51,200 Speaker 2: It cannot be underestimated the degree to which Jim Morrison 2073 01:54:51,320 --> 01:54:53,840 Speaker 2: was a prime slab of beef. 2074 01:54:54,880 --> 01:54:56,880 Speaker 1: H this jawline, that. 2075 01:54:57,080 --> 01:55:02,360 Speaker 2: Hair, he's like, if the bejis weren't genetically deficient, I'd 2076 01:55:02,360 --> 01:55:04,760 Speaker 2: take that back about the beg's. But he actually does 2077 01:55:04,840 --> 01:55:09,400 Speaker 2: look like Robin, who's the handsome GiB Barry, Yeah, he 2078 01:55:09,840 --> 01:55:11,760 Speaker 2: does look like Barry GiB, Yeah he does. 2079 01:55:11,880 --> 01:55:16,520 Speaker 1: Yeah. But the billboard was not the biggest promotional tool 2080 01:55:16,720 --> 01:55:20,200 Speaker 1: that the Doors would have at their disposal. And when 2081 01:55:20,200 --> 01:55:21,560 Speaker 1: I say promotional tool. 2082 01:55:21,600 --> 01:55:22,839 Speaker 2: I'm talking about his wang. 2083 01:55:24,160 --> 01:55:24,240 Speaker 1: Now. 2084 01:55:24,800 --> 01:55:28,200 Speaker 2: The Doors September seventeenth, nineteen sixty seven appearance on The 2085 01:55:28,320 --> 01:55:32,600 Speaker 2: Ed Sullivan Show infamously resulted in a lifetime ban after 2086 01:55:32,760 --> 01:55:36,960 Speaker 2: Morrison disobeyed the CBS Standards and Practices Department and saying 2087 01:55:37,040 --> 01:55:40,360 Speaker 2: the original scandalous lyric to light my fire, girl, we 2088 01:55:40,400 --> 01:55:44,120 Speaker 2: couldn't get much higher, defying Standards and practice suggestion that 2089 01:55:44,240 --> 01:55:46,640 Speaker 2: he changed it to girl, we couldn't get much better. 2090 01:55:47,560 --> 01:55:49,240 Speaker 1: That's terrible, is it? 2091 01:55:49,640 --> 01:55:49,680 Speaker 3: Is? 2092 01:55:49,760 --> 01:55:52,760 Speaker 1: It? Worse than ribing higher with fire and pyre, yeah 2093 01:55:53,120 --> 01:55:57,400 Speaker 1: and desire. It's pretty terrible. Okay, okay, okay. 2094 01:55:58,200 --> 01:56:01,240 Speaker 2: Producers and network executives were in fury, and a stone 2095 01:56:01,360 --> 01:56:05,320 Speaker 2: faced Sullivan denied Morris in the traditional post performance handshake, 2096 01:56:05,680 --> 01:56:08,160 Speaker 2: instead cutting straight to a commercial for Pure in a 2097 01:56:08,360 --> 01:56:17,040 Speaker 2: dog chow Savage. The band was obviously unbothered by this. Densmore, 2098 01:56:17,120 --> 01:56:20,160 Speaker 2: recalling the classic album's documentary, they said, you'll never do 2099 01:56:20,320 --> 01:56:23,040 Speaker 2: this show again, and we said, well, we just did it. 2100 01:56:23,800 --> 01:56:26,960 Speaker 2: We only wanted to do it once. Cheers, a classic 2101 01:56:27,040 --> 01:56:30,320 Speaker 2: case of over explaining the joke. I definitely prefer the 2102 01:56:30,480 --> 01:56:33,000 Speaker 2: version where Jim Morrison goes, hey man, we just did 2103 01:56:33,080 --> 01:56:37,200 Speaker 2: the Ed Sullivan show. Print the legend. Baby, it's pretty good. Yeah, 2104 01:56:37,280 --> 01:56:41,320 Speaker 2: it's better than some of his lyrics. He was quite quippy, 2105 01:56:41,560 --> 01:56:43,640 Speaker 2: as we'll find out later. I was just reading by 2106 01:56:43,760 --> 01:56:47,640 Speaker 2: how when a fan requested light my fire at a concert, 2107 01:56:47,680 --> 01:56:55,760 Speaker 2: he immediately shot back, your mother, Uh, just a one 2108 01:56:55,880 --> 01:57:00,880 Speaker 2: hundred and forty nine IQ, folks. An earlier attempted censorship 2109 01:57:01,240 --> 01:57:03,600 Speaker 2: had been more successful. Break on through to the other side. 2110 01:57:03,640 --> 01:57:06,720 Speaker 2: The opening track of the Doors of the album seemed 2111 01:57:06,720 --> 01:57:08,760 Speaker 2: like an obvious choice for the band's first single, but 2112 01:57:09,160 --> 01:57:13,480 Speaker 2: Rothschild was concerned that the songs Shit Hot Refrain would 2113 01:57:13,560 --> 01:57:17,160 Speaker 2: limit its airplay potential. Densmore told Forbes in twenty fifteen, 2114 01:57:17,440 --> 01:57:18,920 Speaker 2: he said, you know we're not going to be able 2115 01:57:18,960 --> 01:57:21,160 Speaker 2: to get this played, so we really should cut that out. 2116 01:57:21,760 --> 01:57:25,120 Speaker 2: We reluctantly agreed. The offending line was edited down to 2117 01:57:25,200 --> 01:57:30,320 Speaker 2: a repeated she get, followed by Morrison's guttural whale Great 2118 01:57:30,720 --> 01:57:34,120 Speaker 2: Moments and recorded history. That performance on that song is 2119 01:57:34,560 --> 01:57:39,240 Speaker 2: given electricity. It's like proto punk is basically, I mean, 2120 01:57:39,320 --> 01:57:41,560 Speaker 2: it sounds like or like Sue Is. It sounds like 2121 01:57:41,640 --> 01:57:45,840 Speaker 2: early Suicide, like that Oh Wow that it locked in groove, 2122 01:57:46,000 --> 01:57:50,480 Speaker 2: and like the almost too fast mechanical drumming Oh Mortal song. 2123 01:57:51,280 --> 01:57:55,120 Speaker 2: Though lyrically meaningless, the abrupt passage became a familiar part 2124 01:57:55,160 --> 01:57:58,400 Speaker 2: of the song You Write. When Bruce Botnik restored the 2125 01:57:58,480 --> 01:58:00,560 Speaker 2: Missing High as part of a Night ten ninety nine 2126 01:58:00,600 --> 01:58:03,840 Speaker 2: remaster of the album, some purists were outraged. 2127 01:58:04,960 --> 01:58:07,240 Speaker 1: It's just him just going she goat. It just makes 2128 01:58:07,280 --> 01:58:11,920 Speaker 1: no sense. Yeah, bab so good. 2129 01:58:12,440 --> 01:58:16,200 Speaker 2: Another hilarious Doors on TV moment on Christmas Eve of 2130 01:58:16,800 --> 01:58:21,000 Speaker 2: nineteen sixty seven. Yes, on Christmas Eve in nineteen sixty seven, 2131 01:58:21,000 --> 01:58:24,240 Speaker 2: the Doors performed light My Fire and Moonlight Drive for 2132 01:58:24,400 --> 01:58:27,400 Speaker 2: the Jonathan Winters Show. Two days later, they were playing 2133 01:58:27,440 --> 01:58:30,480 Speaker 2: the Winterland Ballroom in San Francisco, and they stopped in 2134 01:58:30,560 --> 01:58:33,080 Speaker 2: the middle of back Norman to wheel a TV out 2135 01:58:33,160 --> 01:58:35,760 Speaker 2: on stage so they could watch their pre taped performance 2136 01:58:36,160 --> 01:58:36,800 Speaker 2: when it aired. 2137 01:58:37,600 --> 01:58:39,400 Speaker 1: I like that. I like that a lot. 2138 01:58:40,080 --> 01:58:42,400 Speaker 2: This is something a bit absurdist about it, you know. 2139 01:58:42,880 --> 01:58:44,760 Speaker 1: Yeah, I mean, but it's like it's kind of the 2140 01:58:44,880 --> 01:58:48,880 Speaker 1: most like cute sort of Doors store. 2141 01:58:49,360 --> 01:58:52,560 Speaker 2: Yeah, it's innocent in a way that not much is. 2142 01:58:53,400 --> 01:58:56,360 Speaker 1: Yeah. There was, however, a bit of self censorship that 2143 01:58:56,440 --> 01:59:00,440 Speaker 1: the band engaged in themselves. That's a terrible sense, since. 2144 01:59:01,040 --> 01:59:04,520 Speaker 2: The band indulged in one bit of self censorship much 2145 01:59:04,600 --> 01:59:05,600 Speaker 2: more pointedly. 2146 01:59:06,320 --> 01:59:10,040 Speaker 1: Yes, the Doors minus Jim Morrison had agreed to license 2147 01:59:10,120 --> 01:59:13,080 Speaker 1: light My Fire for a Buick ad, and when Jim 2148 01:59:13,160 --> 01:59:16,160 Speaker 1: found out, he threatened to smash of Buick on stage 2149 01:59:16,280 --> 01:59:23,360 Speaker 1: during every Door's concert. Not subtle but effective. This all 2150 01:59:23,400 --> 01:59:26,080 Speaker 1: went down after the band's nineteen sixty eight European tour 2151 01:59:26,200 --> 01:59:30,240 Speaker 1: concluded in Sweden in September. Morrison decided to stay in 2152 01:59:30,320 --> 01:59:32,640 Speaker 1: London with his girlfriend and work on his poetry under 2153 01:59:32,680 --> 01:59:35,320 Speaker 1: the guidance of writer Michael McClure, a very famous poet. 2154 01:59:35,640 --> 01:59:38,040 Speaker 1: It seemed like a very good plan, except that none 2155 01:59:38,080 --> 01:59:40,160 Speaker 1: of his bandmates knew that this was going to happen. 2156 01:59:41,200 --> 01:59:43,960 Speaker 1: This caused a problem when representatives from Buwick contacted the 2157 01:59:44,040 --> 01:59:46,960 Speaker 1: Doors and offered them seventy five grand, which is like 2158 01:59:47,320 --> 01:59:50,440 Speaker 1: almost a million dollars today, to license light My Fire 2159 01:59:50,560 --> 01:59:54,280 Speaker 1: for an ad campaign featuring the memorable, if not terribly 2160 01:59:54,520 --> 01:59:57,240 Speaker 1: creative slogan come on Buick, light my Fire. 2161 02:00:00,920 --> 02:00:04,400 Speaker 2: An adman made seventy billion dollars into day money for that. 2162 02:00:05,080 --> 02:00:08,440 Speaker 1: Yes, yes, Brad and Eric later told Patricia Butler and 2163 02:00:08,560 --> 02:00:12,640 Speaker 1: Jerry Hopkins in their book Angels Dance and Angels Die 2164 02:00:12,840 --> 02:00:17,960 Speaker 1: The Tragic Romance of Pamela and Jim Morrison. I thought 2165 02:00:18,000 --> 02:00:20,800 Speaker 1: it was an interesting idea. The car they wanted to 2166 02:00:20,960 --> 02:00:23,560 Speaker 1: use it for was the Opal, which is a small, 2167 02:00:23,640 --> 02:00:27,040 Speaker 1: little ecologically correct car, a little four cylinder, two seater 2168 02:00:27,120 --> 02:00:30,160 Speaker 1: automobile they worked on with the German Opal company. It's 2169 02:00:30,160 --> 02:00:32,640 Speaker 1: a cool car. It wasn't obviously a big Buick or 2170 02:00:32,640 --> 02:00:36,680 Speaker 1: anything like that. However, I have seen claims that the 2171 02:00:36,800 --> 02:00:40,080 Speaker 1: vehicle in question was the less than eco friendly Grand 2172 02:00:40,120 --> 02:00:43,440 Speaker 1: Sports GS four five to five, which is a big 2173 02:00:43,480 --> 02:00:46,120 Speaker 1: honk in Buick. Oh, you're positing they did this out 2174 02:00:46,120 --> 02:00:49,600 Speaker 1: of ecological concerns. Yeah, the Doors had always vowed to 2175 02:00:49,640 --> 02:00:54,560 Speaker 1: split both profits and decisions equally. But Jim was in Communicato, 2176 02:00:54,640 --> 02:00:56,720 Speaker 1: they had no idea where he was, and Buick needed 2177 02:00:56,720 --> 02:01:00,400 Speaker 1: an answer, and the Door's manager, Bill Siddons said, Jim Town, 2178 02:01:00,480 --> 02:01:02,040 Speaker 1: that didn't show any of us the respect to tell 2179 02:01:02,120 --> 02:01:03,960 Speaker 1: us he was leaving or how long he would be gone, 2180 02:01:04,000 --> 02:01:06,720 Speaker 1: and when he was coming home, he just disappeared. So 2181 02:01:06,880 --> 02:01:10,000 Speaker 1: Buick came up offered us a bunch of money, unheard 2182 02:01:10,040 --> 02:01:11,720 Speaker 1: of money at the time to do something with a 2183 02:01:11,800 --> 02:01:15,440 Speaker 1: song that Robbie wrote, and all of us kind of went, well, gee, 2184 02:01:16,200 --> 02:01:18,240 Speaker 1: we'd really like to have Jim's vote here, but it's 2185 02:01:18,240 --> 02:01:20,120 Speaker 1: a lot of money, and it's really big and could 2186 02:01:20,160 --> 02:01:25,520 Speaker 1: be important, so let's go. The incredibly named lawyer Max 2187 02:01:25,720 --> 02:01:30,040 Speaker 1: Fink held Jim Morrison's power of attorney, so they signed 2188 02:01:30,040 --> 02:01:33,280 Speaker 1: the deal with the other Doors. Why would you change 2189 02:01:33,320 --> 02:01:42,000 Speaker 1: your name, dude? I know, Max think great. No, I'm 2190 02:01:42,040 --> 02:01:49,680 Speaker 1: short for maximum Thanks sawing on a hair dryer, Simpsons. Ah. 2191 02:01:50,840 --> 02:01:53,200 Speaker 1: When Jim returned home and heard what had been done 2192 02:01:53,200 --> 02:01:56,760 Speaker 1: in his name. He was furious. This was months after 2193 02:01:56,840 --> 02:01:58,800 Speaker 1: the fact. I guess if the tour ended in September. 2194 02:01:58,800 --> 02:02:01,760 Speaker 1: He didn't come back until November. Jim told us he 2195 02:02:01,800 --> 02:02:04,640 Speaker 1: couldn't trust us anymore. John Densmore told Rolling Stone in 2196 02:02:04,680 --> 02:02:07,680 Speaker 1: twenty thirteen, we'd agreed that we would never use our 2197 02:02:07,760 --> 02:02:10,320 Speaker 1: music in any commercial, but the money Buick offered us 2198 02:02:10,360 --> 02:02:12,920 Speaker 1: had been hard to refuse. Jim accused us of making 2199 02:02:12,960 --> 02:02:15,000 Speaker 1: a deal with the devil and said he would smash 2200 02:02:15,080 --> 02:02:17,320 Speaker 1: a Buick with a sledgehammer on stage if you'd let 2201 02:02:17,400 --> 02:02:21,880 Speaker 1: them use the song and change the lyrics. One apocryphal 2202 02:02:22,000 --> 02:02:26,720 Speaker 1: story said that Jim angrily rammed thirteen Buicks parked on 2203 02:02:26,800 --> 02:02:30,560 Speaker 1: the Sunset Strip, totaling his own Porsche in the process. 2204 02:02:31,200 --> 02:02:34,160 Speaker 1: I don't know if that's true, but it seems self 2205 02:02:34,200 --> 02:02:37,440 Speaker 1: destructive and stupid enough that I do want to believe 2206 02:02:37,440 --> 02:02:40,520 Speaker 1: in it. Yeah, I prefer to print a legend. Yes, yes, yes, yes, 2207 02:02:41,120 --> 02:02:44,040 Speaker 1: sure or not. Jim expressed his frustration to the band's 2208 02:02:44,040 --> 02:02:47,960 Speaker 1: management and demanded that the contract be rescinded. An elaborate radio, 2209 02:02:48,080 --> 02:02:51,600 Speaker 1: television and print campaign was already underway, including a billboard 2210 02:02:51,680 --> 02:02:54,640 Speaker 1: within sight of the Door's offices, which must have really 2211 02:02:54,840 --> 02:02:59,880 Speaker 1: chapped Jim's ass, let me tell you. But ultimately this 2212 02:03:00,120 --> 02:03:03,919 Speaker 1: came to nothing. In the end, Buick scrapped the ad campaign. 2213 02:03:04,600 --> 02:03:07,480 Speaker 1: They claimed they merely decided to go with a different idea, 2214 02:03:08,120 --> 02:03:11,240 Speaker 1: but perhaps a few choice words from Jim may have 2215 02:03:12,200 --> 02:03:14,840 Speaker 1: set them in a different creative direction. Whatever the case, 2216 02:03:15,240 --> 02:03:18,720 Speaker 1: the Buick incident irreparably damaged the brotherhood of the Doors. 2217 02:03:19,040 --> 02:03:21,160 Speaker 1: The band's manager, Bill Siddens, would say that was the 2218 02:03:21,320 --> 02:03:23,520 Speaker 1: end of the dream. That was the end of the 2219 02:03:23,600 --> 02:03:26,200 Speaker 1: era of Jim's relationship with the other members of the band. 2220 02:03:26,600 --> 02:03:29,160 Speaker 1: From then on, it was business. That was the day 2221 02:03:29,280 --> 02:03:32,440 Speaker 1: Jim said, I don't have partners anymore, I have associates. 2222 02:03:33,960 --> 02:03:38,000 Speaker 1: And this kind of stuff would continue long after Jim's death. 2223 02:03:38,400 --> 02:03:40,760 Speaker 1: Throughout the two thousands, the surviving members of The Doors 2224 02:03:40,840 --> 02:03:43,640 Speaker 1: were basically split into two camps, with raymon Zeric and 2225 02:03:43,720 --> 02:03:46,560 Speaker 1: Robbi Krieger on one side, who felt free to tour 2226 02:03:46,720 --> 02:03:50,440 Speaker 1: with a new singer in Ian as that's right for 2227 02:03:50,560 --> 02:03:51,120 Speaker 1: the cult. 2228 02:03:50,960 --> 02:03:56,080 Speaker 2: Yeah, supposedly they were. Manzark offered the lead singer job 2229 02:03:56,120 --> 02:03:59,680 Speaker 2: to Iggy Pop, who was like an early he stated 2230 02:03:59,720 --> 02:04:01,560 Speaker 2: more and was like an early influence on him. 2231 02:04:02,120 --> 02:04:05,320 Speaker 1: Yeah, I think he was like basically too shy almost 2232 02:04:05,400 --> 02:04:07,560 Speaker 1: he was like, yeah, I can't step into these shoes. Yeah. 2233 02:04:07,800 --> 02:04:10,200 Speaker 1: He would also become famous for whipping his dick out. 2234 02:04:10,520 --> 02:04:13,320 Speaker 1: Oh yeah, that's right. Yeah, yeah, yeah, yeah, among many 2235 02:04:13,360 --> 02:04:15,840 Speaker 1: other things. On the other side was John Densmore, who 2236 02:04:16,880 --> 02:04:21,400 Speaker 1: kind of positioned himself as like the guardian of Jim's legacy, 2237 02:04:22,160 --> 02:04:27,560 Speaker 1: trying to protect it from craven commercialization, which is weird 2238 02:04:28,240 --> 02:04:31,360 Speaker 1: because on one hand that all the stuff that he 2239 02:04:31,720 --> 02:04:34,320 Speaker 1: stands for seems like the right thing to do from 2240 02:04:34,360 --> 02:04:37,640 Speaker 1: a creative standpoint and just like a friendship standpoint, but 2241 02:04:38,360 --> 02:04:40,480 Speaker 1: also he was like the member of the band that 2242 02:04:40,600 --> 02:04:44,560 Speaker 1: Jim was apparently the least connected to, and like ray 2243 02:04:44,640 --> 02:04:47,680 Speaker 1: Manzeric claimed that at some point Jim wanted to fire 2244 02:04:47,800 --> 02:04:51,080 Speaker 1: John and that they weren't that close. I don't really 2245 02:04:51,240 --> 02:04:54,520 Speaker 1: understand what John Densmore would have to gain by not 2246 02:04:54,800 --> 02:04:58,160 Speaker 1: accepting huge checks for ad campaigns in the twenty tens 2247 02:04:58,200 --> 02:05:01,760 Speaker 1: from like Cadillac, so it seems to be sincere. I 2248 02:05:01,760 --> 02:05:04,160 Speaker 1: don't know, I interviewed him. He actually published a book 2249 02:05:04,200 --> 02:05:07,360 Speaker 1: about this whole feud called The Doors Unhinged in twenty 2250 02:05:07,440 --> 02:05:11,120 Speaker 1: thirteen and yeah, I don't really understand it. But then 2251 02:05:11,280 --> 02:05:15,680 Speaker 1: following Raymnzeric's death in twenty thirteen as well kind of 2252 02:05:15,760 --> 02:05:19,320 Speaker 1: belatedly buried the hatchet. And as far as I know, 2253 02:05:19,560 --> 02:05:22,040 Speaker 1: things between John Densboy and Robbi Kreeger are the only 2254 02:05:22,080 --> 02:05:27,360 Speaker 1: two surviving Doors members are relatively good. Well, that's good. 2255 02:05:28,320 --> 02:05:31,480 Speaker 2: I'm happy that they all. I'm happy they all collect checks, 2256 02:05:34,480 --> 02:05:36,880 Speaker 2: split in songwriting royalties. Four way has really worked out 2257 02:05:36,920 --> 02:05:41,200 Speaker 2: for them. Obviously the album was a hit. This is 2258 02:05:41,280 --> 02:05:44,680 Speaker 2: really the genius of the Doors place in time is 2259 02:05:44,760 --> 02:05:49,600 Speaker 2: that they represented a still consumable but darker side of 2260 02:05:49,680 --> 02:05:53,720 Speaker 2: psychedelia that the Velvet Underground were too genuinely weird and 2261 02:05:53,840 --> 02:05:57,440 Speaker 2: alvant garde to get across into the mainstream, you know, 2262 02:05:57,760 --> 02:06:01,840 Speaker 2: like amplified viola drones are a hard cell, but like 2263 02:06:02,200 --> 02:06:05,880 Speaker 2: even sus lyrical content, spooky lyrical content you can get 2264 02:06:05,880 --> 02:06:11,840 Speaker 2: away with with improbable bone structure. Do you know that 2265 02:06:12,280 --> 02:06:15,400 Speaker 2: Andy Warhol claimed that Morrison stole the leather pants thing 2266 02:06:15,480 --> 02:06:16,800 Speaker 2: from Gerard Nlonga. 2267 02:06:17,280 --> 02:06:20,160 Speaker 1: No, but yeah that I could see that. 2268 02:06:20,480 --> 02:06:26,360 Speaker 2: Yeah, he's all the exploding plastic inevitable in La all right, 2269 02:06:27,240 --> 02:06:29,880 Speaker 2: Both the Doors album and Light My Fire have been 2270 02:06:29,880 --> 02:06:32,240 Speaker 2: inducted into the Grammy Hall of Fame. The album was 2271 02:06:32,360 --> 02:06:35,440 Speaker 2: selected in twenty fifteen My Beloved Library of Congress for 2272 02:06:35,560 --> 02:06:38,720 Speaker 2: inclusion in the National Recording Registry, and it sold over 2273 02:06:38,840 --> 02:06:43,000 Speaker 2: thirteen million copies worldwide. It's also firmly lodged in Rolling 2274 02:06:43,080 --> 02:06:45,480 Speaker 2: Stones five hundred Greatest Albums of All Time list, although 2275 02:06:45,560 --> 02:06:49,840 Speaker 2: in twenty twenty it was demoted to the eighty six slot. 2276 02:06:50,000 --> 02:06:53,200 Speaker 2: From forty two, the band's follow up, Strange Days, hit 2277 02:06:53,280 --> 02:06:55,720 Speaker 2: the charts and then kind of dropped off, but it 2278 02:06:55,800 --> 02:06:58,400 Speaker 2: wasn't really given time or space to grow because Morrison 2279 02:06:58,440 --> 02:07:01,959 Speaker 2: embarked on I don't know two straight years. 2280 02:07:01,800 --> 02:07:03,200 Speaker 1: Of public self sabotage. 2281 02:07:04,480 --> 02:07:06,560 Speaker 2: December of nineteen sixty seven is when in the famous 2282 02:07:06,640 --> 02:07:10,080 Speaker 2: New Haven incident took place. A police officer happened upon 2283 02:07:10,160 --> 02:07:14,520 Speaker 2: Morrison and a lady friend and not recognizing the Jordan 2284 02:07:14,600 --> 02:07:16,879 Speaker 2: was lead singer of the band. A police officer stumbled 2285 02:07:16,960 --> 02:07:19,120 Speaker 2: upon Morrison and a lady friend and not realizing who 2286 02:07:19,160 --> 02:07:22,440 Speaker 2: Morrison was, told them to leave. Morrison quipped eat it, 2287 02:07:23,360 --> 02:07:25,960 Speaker 2: and the cop took out his mace and said last chance, 2288 02:07:26,400 --> 02:07:29,480 Speaker 2: to which Morrison shot back, last chance to eat it. 2289 02:07:31,040 --> 02:07:34,480 Speaker 2: Medium funny the pair or just Morrison who cares, were 2290 02:07:34,560 --> 02:07:38,880 Speaker 2: duly maced. Morrison recovered, and then when he went on stage, 2291 02:07:38,920 --> 02:07:42,640 Speaker 2: began improvising about the incident in the midst of a song, 2292 02:07:43,840 --> 02:07:45,920 Speaker 2: calling the police like a little blue man. 2293 02:07:45,880 --> 02:07:47,520 Speaker 1: A little blue man and a little blue hat. 2294 02:07:47,680 --> 02:07:49,680 Speaker 2: Yeah, devastating. 2295 02:07:53,000 --> 02:07:53,840 Speaker 1: Cab it wasn't. 2296 02:07:54,240 --> 02:07:57,040 Speaker 2: This sparked a confrontation between Morrison and the assembled police, 2297 02:07:57,080 --> 02:07:59,280 Speaker 2: resulting in him claiming the record of becoming the first 2298 02:07:59,360 --> 02:08:03,000 Speaker 2: musician are on stage. The rest of the crowd devolved 2299 02:08:03,040 --> 02:08:07,480 Speaker 2: into a minor riot. This began the long downward slide 2300 02:08:07,520 --> 02:08:12,040 Speaker 2: of Morrison physically, probably also mentally psychologically, as well as 2301 02:08:12,080 --> 02:08:14,080 Speaker 2: the doors image from an Interesting Band, It is something 2302 02:08:14,120 --> 02:08:17,360 Speaker 2: of a traveling counterculture side show. As Morrison got drunker 2303 02:08:17,440 --> 02:08:22,160 Speaker 2: and fatter and more provocative, recording became exponentially more difficult, 2304 02:08:22,280 --> 02:08:24,800 Speaker 2: and in March of nineteen sixty nine, a wasted Morrison 2305 02:08:24,800 --> 02:08:27,480 Speaker 2: showed up an hour late to show in Miami and 2306 02:08:27,560 --> 02:08:31,280 Speaker 2: became increasingly confrontational with the crowd, culminating in a moment 2307 02:08:31,360 --> 02:08:35,200 Speaker 2: of widely debated sexually tinged theatrics that got him arrested. 2308 02:08:36,160 --> 02:08:39,880 Speaker 2: The police charged him with like exposing himself, right, that's 2309 02:08:39,960 --> 02:08:43,320 Speaker 2: the bit, but everyone so many people, nobody saw it 2310 02:08:43,400 --> 02:08:47,080 Speaker 2: and there's no photos of it. Yeah, so whatever the 2311 02:08:47,160 --> 02:08:50,320 Speaker 2: case was. Morrison received a genuous posthumus pardon from the 2312 02:08:50,360 --> 02:08:55,480 Speaker 2: state of Florida in twenty ten, so that's settled. Morrison 2313 02:08:55,560 --> 02:08:57,680 Speaker 2: was already threatening to quit the band before they recorded 2314 02:08:57,720 --> 02:09:00,280 Speaker 2: The Soft Parade, and Manzark convinced him to stay, but 2315 02:09:00,480 --> 02:09:03,480 Speaker 2: his drinking was well and truly out of control, and 2316 02:09:03,600 --> 02:09:07,360 Speaker 2: recording of their next album, nineteen seventies Morriston Hotel, was 2317 02:09:07,440 --> 02:09:11,840 Speaker 2: interrupted when Morrison was got wasted on a flight to 2318 02:09:11,920 --> 02:09:18,200 Speaker 2: go see the Rolling Stones and became abusive or just 2319 02:09:18,320 --> 02:09:22,440 Speaker 2: acted like Jim Morrison to a stewardess, and he was 2320 02:09:22,520 --> 02:09:24,760 Speaker 2: brought up on what could have been fell any charges 2321 02:09:24,800 --> 02:09:30,000 Speaker 2: because you cannot mess with the sky workers. This was late. 2322 02:09:30,400 --> 02:09:33,360 Speaker 2: This is kind of a weird kerfuffle. So supposedly Morrison 2323 02:09:33,400 --> 02:09:35,760 Speaker 2: was traveling with a guy named Tom Baker, not the 2324 02:09:35,840 --> 02:09:40,240 Speaker 2: doctor Who guy, and in court the stewardess she admitted 2325 02:09:40,320 --> 02:09:43,640 Speaker 2: that she couldn't tell she might have gotten Morrison confused 2326 02:09:43,680 --> 02:09:46,600 Speaker 2: with Tom Baker. However, some people believe that this is 2327 02:09:46,680 --> 02:09:49,880 Speaker 2: because Morrison shaved his beard and cut his hair right 2328 02:09:49,960 --> 02:09:52,400 Speaker 2: before she went into court. So then she was like, 2329 02:09:52,520 --> 02:09:55,440 Speaker 2: now I can't tell the two guys apart anyway, that's 2330 02:09:55,480 --> 02:09:58,600 Speaker 2: all hilarious. Morrison Hotel was actually a fairly big hit 2331 02:09:58,680 --> 02:10:01,680 Speaker 2: for the band, and a live album that Paul Rothschild 2332 02:10:01,800 --> 02:10:07,360 Speaker 2: was cobbled together with about two thousand edits duly followed. Unfortunately, 2333 02:10:07,440 --> 02:10:09,520 Speaker 2: by this point, the band was also facing something of 2334 02:10:09,600 --> 02:10:13,200 Speaker 2: an unofficial band in multiple major American cities because of 2335 02:10:13,240 --> 02:10:16,840 Speaker 2: the reputation, which made touring difficult. The last Doors show 2336 02:10:16,880 --> 02:10:20,160 Speaker 2: took place on December twelfth, nineteen seventy, and when midway 2337 02:10:20,200 --> 02:10:23,480 Speaker 2: through the set, Morrison began smashing the microphone stands bass 2338 02:10:23,640 --> 02:10:26,560 Speaker 2: into the stage until he broke through the floorboards before 2339 02:10:26,640 --> 02:10:29,440 Speaker 2: sitting down and refusing to finish the set. I love 2340 02:10:29,520 --> 02:10:34,200 Speaker 2: it as his move, just sit down, like people who 2341 02:10:34,280 --> 02:10:36,760 Speaker 2: get I mean, you know, I don't know, man, Am 2342 02:10:36,800 --> 02:10:39,720 Speaker 2: I softening towards Jim Morrison? Like he had a problem 2343 02:10:40,080 --> 02:10:43,120 Speaker 2: right and yeah yeah, And nobody was like hey man, 2344 02:10:43,760 --> 02:10:44,560 Speaker 2: or everyone was. 2345 02:10:44,600 --> 02:10:47,320 Speaker 1: Like yeah no. There were they were a lot of 2346 02:10:47,400 --> 02:10:49,480 Speaker 1: band meetings when they were like, you know, we should 2347 02:10:50,080 --> 02:10:53,240 Speaker 1: we take some time off or yeah no they're they 2348 02:10:54,040 --> 02:10:56,280 Speaker 1: I mean no, they didn't have the vocabulary or the 2349 02:10:56,400 --> 02:10:59,280 Speaker 1: understanding sure of what was going on with him rating 2350 02:10:59,320 --> 02:11:03,400 Speaker 1: on the sixties. Yeah, but I think that, as you say, 2351 02:11:03,480 --> 02:11:08,920 Speaker 1: graying on the sixties curve, they tried to have primitive interventions. 2352 02:11:09,280 --> 02:11:12,880 Speaker 2: Yeah, but he was the lizard King and his mojo 2353 02:11:13,040 --> 02:11:19,960 Speaker 2: rose and subsumed them. Despite all of that, and Morrison's 2354 02:11:20,000 --> 02:11:26,000 Speaker 2: increased focus on his poetry, now I can really focus 2355 02:11:26,080 --> 02:11:28,920 Speaker 2: on my poetry. The band had been working on another 2356 02:11:29,040 --> 02:11:32,240 Speaker 2: back to their roots album, La Woman, famously memorialized in 2357 02:11:32,280 --> 02:11:34,320 Speaker 2: the Oliver Stone Moment in the Morrison in the moment 2358 02:11:34,320 --> 02:11:37,480 Speaker 2: where Morrison is laying down vocals from a toilet, which 2359 02:11:37,520 --> 02:11:42,800 Speaker 2: I love so dearly La Woman slapso. 2360 02:11:41,960 --> 02:11:44,520 Speaker 1: Oh yeah, that's like maybe my favorite Thores album because. 2361 02:11:44,320 --> 02:11:46,680 Speaker 2: That's when they have the Belvis Presley, the TCB guys 2362 02:11:46,760 --> 02:11:50,600 Speaker 2: on Basic Yah Yeah, yeah, yeah, Lover Madley another Kreeker composition, 2363 02:11:50,720 --> 02:11:53,600 Speaker 2: and Writers on the Storm became classic rock staples. But 2364 02:11:53,800 --> 02:11:56,560 Speaker 2: while mixing the album in March of nineteen seventy one, 2365 02:11:57,080 --> 02:12:00,080 Speaker 2: Morrison took a leave of absence from the band. He 2366 02:12:00,160 --> 02:12:04,640 Speaker 2: moved to Paris with his perennially put upon partner, Pamela Corson, 2367 02:12:05,160 --> 02:12:07,480 Speaker 2: and he took a fateful bath in July of nineteen 2368 02:12:07,520 --> 02:12:12,400 Speaker 2: seventy one and was never heard from again. Unless I 2369 02:12:12,520 --> 02:12:14,280 Speaker 2: was expecting you to do a full sidebar here on 2370 02:12:14,440 --> 02:12:18,080 Speaker 2: Morrison conspiracy deaths, that was I think largely put out 2371 02:12:18,160 --> 02:12:20,360 Speaker 2: there by no one here comes out alive, right, that 2372 02:12:20,520 --> 02:12:22,320 Speaker 2: he had faked his own death or something. 2373 02:12:23,240 --> 02:12:27,760 Speaker 1: Raymn Eric also would kind of stoke those rumors, much 2374 02:12:27,880 --> 02:12:32,880 Speaker 1: to the annoyance of his bandmates. Yeah, I don't buy that, 2375 02:12:33,200 --> 02:12:33,560 Speaker 1: but there. 2376 02:12:33,520 --> 02:12:35,560 Speaker 2: Is like weird conspiracy layers to it, right, like an 2377 02:12:35,600 --> 02:12:38,400 Speaker 2: international drug trafficking ring and this, that and the other. 2378 02:12:39,880 --> 02:12:42,400 Speaker 1: There was a theory and I actually did an article 2379 02:12:42,480 --> 02:12:45,040 Speaker 1: on it for the fiftieth anniversary of his death that 2380 02:12:45,200 --> 02:12:48,120 Speaker 1: I remember reading that that he died of a hair 2381 02:12:48,240 --> 02:12:53,120 Speaker 1: and overdose by this like jet setting French count like 2382 02:12:53,280 --> 02:12:56,800 Speaker 1: drug dealer to the stars who just like basically got 2383 02:12:57,000 --> 02:13:03,560 Speaker 1: careless and didn't test his product and didn't like cut 2384 02:13:03,640 --> 02:13:06,640 Speaker 1: it with any degree of regularity. So people would, you know, 2385 02:13:06,920 --> 02:13:09,600 Speaker 1: use things that were way more pure impotent than they 2386 02:13:09,680 --> 02:13:13,160 Speaker 1: were expecting and died because of it. And supposedly there 2387 02:13:13,160 --> 02:13:15,040 Speaker 1: were some theories that say that was, you know, the 2388 02:13:15,080 --> 02:13:19,160 Speaker 1: same dealer that killed Janice Joplin, that killed right, that 2389 02:13:19,320 --> 02:13:23,839 Speaker 1: killed Jim. And also I think one of the Getty 2390 02:13:23,880 --> 02:13:28,560 Speaker 1: Airs wives, Talitha Tabitha Getty, I forget her name, and 2391 02:13:28,760 --> 02:13:31,040 Speaker 1: I forget There was this whole rash of deaths in 2392 02:13:31,160 --> 02:13:35,040 Speaker 1: the high society heroin using circles in a very short 2393 02:13:35,120 --> 02:13:36,960 Speaker 1: period that they think was linked to this one guy, 2394 02:13:37,200 --> 02:13:39,200 Speaker 1: Count because he was. 2395 02:13:39,240 --> 02:13:43,680 Speaker 2: Bringing in like unusually strong like black tar heroin or 2396 02:13:43,720 --> 02:13:44,960 Speaker 2: something like that, right, like. 2397 02:13:45,200 --> 02:13:47,360 Speaker 1: Yeah, yeah, what was his name? His name was Count 2398 02:13:47,440 --> 02:13:50,960 Speaker 1: Jean de Brutel and he later died in nineteen seventy 2399 02:13:51,000 --> 02:13:56,160 Speaker 1: two at the age of just twenty two, which is crazy. Yeah, 2400 02:13:56,720 --> 02:13:59,680 Speaker 1: but there are all sorts of myths that, as you said, 2401 02:13:59,720 --> 02:14:02,200 Speaker 1: he was, it's just this careless. It's it's the Great 2402 02:14:02,240 --> 02:14:07,920 Speaker 1: gats Beef. He's careless people, careless people. Yeah, you know, 2403 02:14:08,120 --> 02:14:11,000 Speaker 1: I've softened to Jim Morrison during the course of this episode. 2404 02:14:11,040 --> 02:14:13,360 Speaker 1: I got all my bile out. Oh tell me more. 2405 02:14:14,360 --> 02:14:16,840 Speaker 2: Well, you know, asign from all the people that he 2406 02:14:16,960 --> 02:14:19,960 Speaker 2: did hurt and the ways in which he behaved like 2407 02:14:20,040 --> 02:14:24,720 Speaker 2: an enormous bore twenty four to seven, the equipment that 2408 02:14:24,840 --> 02:14:25,280 Speaker 2: he wrecked. 2409 02:14:25,960 --> 02:14:27,360 Speaker 1: Did he really hurt anyone? 2410 02:14:28,560 --> 02:14:33,720 Speaker 2: Yes, so many people? Probably, No, I mean, I don't 2411 02:14:33,760 --> 02:14:35,960 Speaker 2: know man, it's it's it is just funny. It's a 2412 02:14:36,080 --> 02:14:39,040 Speaker 2: it's such a such a classic narrative of. 2413 02:14:39,240 --> 02:14:41,760 Speaker 1: Like, yeah, it's the original narrative. 2414 02:14:42,080 --> 02:14:44,920 Speaker 2: Yeah yeah, really really, I mean I'm sure there was 2415 02:14:44,960 --> 02:14:47,160 Speaker 2: some like silent film star or somebody who had a 2416 02:14:47,200 --> 02:14:50,280 Speaker 2: similar one, but yeah, just being young and hot gets 2417 02:14:50,320 --> 02:14:52,640 Speaker 2: you so far, and then that same lifestyle makes you 2418 02:14:52,680 --> 02:14:57,560 Speaker 2: a weird and grouchy and fat, and uh, then the 2419 02:14:57,640 --> 02:14:58,200 Speaker 2: right ends. 2420 02:14:59,040 --> 02:14:59,840 Speaker 1: He rode the snake. 2421 02:15:01,760 --> 02:15:04,600 Speaker 2: If we were truly making a proper tribute to Jim Morrison, 2422 02:15:05,200 --> 02:15:08,240 Speaker 2: I would be housed by now and making fart noises 2423 02:15:08,280 --> 02:15:13,560 Speaker 2: into a mic, with which Paul Rothschild said, he said, 2424 02:15:13,600 --> 02:15:16,960 Speaker 2: there'll never be a Doors outtake album because there's his 2425 02:15:17,160 --> 02:15:20,960 Speaker 2: hours of him trying to coax vocal performances from Jim. 2426 02:15:20,880 --> 02:15:22,560 Speaker 1: Morrison and Jim just being like. 2427 02:15:26,480 --> 02:15:30,120 Speaker 2: Which is so damn funny to me, Like I'm begging 2428 02:15:30,240 --> 02:15:34,400 Speaker 2: for those two inch tapes hours of a drunken Jim 2429 02:15:34,480 --> 02:15:41,240 Speaker 2: Morrison making body noises. Anyway, but unfortunately we are cold, sober, 2430 02:15:41,280 --> 02:15:43,920 Speaker 2: and I am not speaking into a ten thousand dollars microphone. 2431 02:15:44,080 --> 02:15:47,880 Speaker 2: But alas, regardless, we have ridden this particular snake to 2432 02:15:48,000 --> 02:15:48,880 Speaker 2: this particular end. 2433 02:15:48,920 --> 02:15:49,280 Speaker 1: Of time. 2434 02:15:50,560 --> 02:15:55,720 Speaker 2: Father, mother, I want to let you know that through therapy, 2435 02:15:55,760 --> 02:15:58,520 Speaker 2: I've come to accept you as loving but still ultimately 2436 02:15:58,640 --> 02:16:01,280 Speaker 2: human and therefore flawed figures who raised me to the 2437 02:16:01,320 --> 02:16:02,400 Speaker 2: best of your abilities, and. 2438 02:16:02,440 --> 02:16:02,800 Speaker 1: I love you. 2439 02:16:03,800 --> 02:16:06,280 Speaker 2: Jim Morrison should have gone to therapy and probably rehab. 2440 02:16:09,440 --> 02:16:11,320 Speaker 1: I'd like to second that, But I'd also like to 2441 02:16:11,520 --> 02:16:14,720 Speaker 1: end by sharing a quote from John Densmore during an 2442 02:16:14,760 --> 02:16:19,800 Speaker 1: interview for the Classic Albums documentary. Self destruction and creativity 2443 02:16:19,880 --> 02:16:22,440 Speaker 1: are not always in the same package. And I want 2444 02:16:22,520 --> 02:16:25,560 Speaker 1: kids to understand that Picasso lived to be ninety and 2445 02:16:25,680 --> 02:16:29,000 Speaker 1: he was a genius. In Jim's case, they came together 2446 02:16:29,560 --> 02:16:31,400 Speaker 1: creativity and self destruction. 2447 02:16:33,280 --> 02:16:36,640 Speaker 2: It's gonna happen to us. Let me do this podcast 2448 02:16:36,640 --> 02:16:42,840 Speaker 2: when we're ninety, because we're geniuses. But I don't drink 2449 02:16:42,879 --> 02:16:48,400 Speaker 2: as much as I used to. Uh sorry, I ruined 2450 02:16:48,400 --> 02:16:48,840 Speaker 2: your kicker? 2451 02:16:49,400 --> 02:16:52,160 Speaker 1: Does you always enhance my kickers? 2452 02:16:53,520 --> 02:16:56,760 Speaker 2: This has been too much information. I eagerly await the 2453 02:16:56,800 --> 02:16:59,200 Speaker 2: one star reviews boomers. I'm not getting paid for this 2454 02:16:59,280 --> 02:17:02,800 Speaker 2: shit anymore. Give a loosen your ponytails and come at me. 2455 02:17:04,200 --> 02:17:06,920 Speaker 1: What did loosen your ponytails from? Ah? 2456 02:17:07,160 --> 02:17:10,320 Speaker 2: That is like a a diss, like that I was 2457 02:17:10,400 --> 02:17:14,600 Speaker 2: like in my head from like somebody yelling at Young 2458 02:17:14,640 --> 02:17:17,560 Speaker 2: Winter about like loosen your ponytails and stop being obsessed 2459 02:17:17,600 --> 02:17:18,320 Speaker 2: with Moby Grape. 2460 02:17:20,480 --> 02:17:22,760 Speaker 1: No, don't do that, because Jordan puts a lot of effort. 2461 02:17:22,520 --> 02:17:26,160 Speaker 2: Into this and and he's always weighed down by my awful, 2462 02:17:26,280 --> 02:17:31,959 Speaker 2: awful attitude. I like guys, I like the doors. Okay, 2463 02:17:32,320 --> 02:17:34,720 Speaker 2: make me say it again. They just have a hilarious 2464 02:17:34,879 --> 02:17:38,600 Speaker 2: archetypal buffoon as their lead singer, who is endlessly amusing 2465 02:17:38,760 --> 02:17:42,360 Speaker 2: and not as good as he thought he was. Just fade, 2466 02:17:42,480 --> 02:17:47,720 Speaker 2: just bored, fade this as right into iHeart and like, 2467 02:17:47,840 --> 02:17:50,920 Speaker 2: get my personal email and just send me your hate mail. 2468 02:17:51,080 --> 02:17:55,000 Speaker 2: I'm used to it. Don't one star this show. Jordan 2469 02:17:55,080 --> 02:18:01,520 Speaker 2: is too good and too pure for that. Howard Stern's 2470 02:18:01,560 --> 02:18:09,640 Speaker 2: penis Jimmy Buffett sucks. Good night, folks, Beta keep the 2471 02:18:09,760 --> 02:18:11,000 Speaker 2: less Ops tied it over. 2472 02:18:10,959 --> 02:18:19,120 Speaker 1: For a while. Too Much Information was a production of 2473 02:18:19,200 --> 02:18:19,960 Speaker 1: iHeart Radio. 2474 02:18:20,240 --> 02:18:23,440 Speaker 2: The show's executive producers are Noel Brown and Jordan Runtog. 2475 02:18:23,640 --> 02:18:26,440 Speaker 1: The show's supervising producer is Michael Alder June. 2476 02:18:26,760 --> 02:18:29,840 Speaker 2: The show was researched, written, and hosted by Jordan Runtog 2477 02:18:29,920 --> 02:18:30,520 Speaker 2: and Alex. 2478 02:18:30,360 --> 02:18:33,280 Speaker 1: Heigel with original music by Seth Applebaum and the Ghost 2479 02:18:33,320 --> 02:18:36,120 Speaker 1: Funk Orchestra. If you like what you heard, please subscribe 2480 02:18:36,160 --> 02:18:39,000 Speaker 1: and leave us a review. For more podcasts on iHeartRadio, 2481 02:18:39,160 --> 02:18:42,560 Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen 2482 02:18:42,560 --> 02:18:43,520 Speaker 1: to your favorite shows.