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Speaker 1: Quest Love Supreme is a production of iHeart Radio.

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Speaker 2: It's a It's a Steve show. This is a Steam show.

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Speaker 3: Brot just I.

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Speaker 2: Believe our best episodes are when we don't know the guys.

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Speaker 3: Yeah, everybody calm down because I can't carry that.

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Speaker 2: I'm just I go through.

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Speaker 4: I know, you know, five to one when I start

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Speaker 4: talking to take over.

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Speaker 5: I know that whole valcuum, like a whole valculum.

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Speaker 2: I know, I know, light my fire.

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Speaker 3: Of course I went the samples. Did anyone sample the doors?

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Speaker 2: Yes?

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Speaker 6: They were.

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Speaker 3: Okay, here's a drummer too.

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Speaker 2: By the way, I know, right, I think that we

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Speaker 2: have a whole thing about it. We kind of tick

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Speaker 2: you like we're going to take the sim test today.

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Speaker 5: Yeah, okay, I'm at all right, I'm with you.

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Speaker 2: All right, here we go, Oh.

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Speaker 3: Already, let's go.

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Speaker 2: How you doing, Hey man, I'm good, good, good to

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Speaker 2: be here with you.

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Speaker 7: I don't know. I don't know if you can see

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Speaker 7: this my wardrobe.

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Speaker 5: I.

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Speaker 2: Said, thank you.

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Speaker 3: He sat in with us.

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Speaker 7: Yeah.

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Speaker 5: Man.

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Speaker 7: Is it because of COVID that that the roots are

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Speaker 7: pared down?

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Speaker 2: Yeah, it's because of COVID.

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Speaker 8: We can't state loss says that only uh six people

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Speaker 8: out of eleven.

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Speaker 2: Uh, our information, So that's how it is.

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Speaker 7: I got Okay, well, I used to love that the

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Speaker 7: tuba duplicating the baselines that sent me right to New Orleans.

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Speaker 8: Nice the lower Yeah, that's cool crap since we already

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Speaker 8: talking when we start the introduction, Uh, ladies and gentlemen,

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Speaker 8: this is quest Love Supreme. My name is quest Love.

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Speaker 8: We have Teams Supreme with us. We gotta fine take

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Speaker 8: a low. Happy New Year, Happy New Year, Happy New Year.

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Speaker 8: This is also the time that I'm not pluralizing the

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Speaker 8: word year.

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Speaker 7: Uh.

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Speaker 8: I always say happy New Years, and I've been corrected

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Speaker 8: one too many times.

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Speaker 2: Sugar Steve, Hello.

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Speaker 3: Hello, how you doing everybody?

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Speaker 5: Hi?

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Speaker 3: John?

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Speaker 4: It's kind of weird for me to say hello to

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Speaker 4: you because I see you every day.

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Speaker 3: So yeah, I'm pretty sick of you too.

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Speaker 8: Let's move on, okay, Yeah, happy.

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Speaker 4: Run off and the Sugar Steve really is a live episode.

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Speaker 2: Ye paid Bill, ye's with us as well. How you

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Speaker 2: doing good? Hen run off? Day good? Yeah?

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Speaker 8: Happy yeah, yeah happy whatever you said day layah just

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Speaker 8: as well.

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Speaker 2: That's right. Happy fiftieth month, my friend.

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Speaker 4: Oh you're right with me, there's okay, you're still nineteen yeah.

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Speaker 5: No, I mean, I'm not Yes, I'm right with you

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Speaker 5: as far as our birthdays on the same day, but

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Speaker 5: it's but you.

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Speaker 8: Know what I'm yeah anyway, all right, So our guest today, y'all.

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Speaker 2: Our guest is huge, Yeah, very huge.

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Speaker 8: He's a member of the Rock and Roll Hall of

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Speaker 8: Fame and he's literally from one of the most influential

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Speaker 8: bands of all time. The Doors have sold over one

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Speaker 8: hundred million records. That's nothing to stuff at. Their music

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Speaker 8: and their influence still resonates to this day. Yes, I

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Speaker 8: don't know if you know that, John.

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Speaker 3: Those are actual records too, not.

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Speaker 7: I better actually check my royalties.

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Speaker 9: Yeah, we're on the verge of an answer, you know,

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Speaker 9: back today. It'd be good for Ton.

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Speaker 2: Not not to mention.

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Speaker 8: Our guest is also an author, actor, playwright, Grammy Lifetime

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Speaker 8: Achievement Ward Winner recipient, and we are extremely honored to

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Speaker 8: have him talk shop with us today and his illustrious career.

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Speaker 8: Please welcome to Course Left Supreme. John Dinsmore, drummer of

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Speaker 8: The Doors.

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Speaker 7: Hey, Hey, yo, thank you, and I'm not dead, you know.

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Speaker 2: Yes, that's a good start.

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Speaker 7: Yeah, congratulations, thank you, thank you.

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Speaker 2: That's an ad. We're all right. Now where are you

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Speaker 2: right now?

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Speaker 7: I'm I'm in my office slash rehearsal room, you.

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Speaker 4: Know, Okay, I meant like, in what part of the world.

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Speaker 7: Oh, I'm in lak where I was born, my mom

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Speaker 7: was My mom was born here in nineteen oh four.

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Speaker 7: And but we're not native. The Chumash Indians are the

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Speaker 7: first People's got to get that, right, You.

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Speaker 5: Better credit, you better get it.

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Speaker 7: Yeah, So listen, I want to say, I'm really pleased

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Speaker 7: to be doing this because, you know, Quest and I

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Speaker 7: are in the same tribe, a tribe called drummers.

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Speaker 2: Yeah, we are, you know, And I just.

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Speaker 7: Yeah, I love that. You know, you're the leader of

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Speaker 7: the roots, and not a lot of drummers their leaders.

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Speaker 7: And and it makes me think of you and Lionel

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Speaker 7: Hampton or or Art Blakey and the jazz messengers you

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Speaker 7: know who I saw many times. Or Chico Hamilton, who

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Speaker 7: I stole to ride cymbal bell beat from.

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Speaker 3: You know, so wait, how did you pull that time out?

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Speaker 3: Please tell tell our audience who Chico Hamilton is, please,

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Speaker 3: because nobody ever talks about him.

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Speaker 7: He was a wonderful jazz cat in the early sixties

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Speaker 7: and I saw him as a teenager. I think Charles

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Speaker 7: Lloyd was playing with him, and uh man, you know,

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Speaker 7: I heard a real cool thing, and I later I

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Speaker 7: put it in the end. You know, you steal from

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Speaker 7: the best.

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Speaker 3: Right, exactly flattery I was.

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Speaker 8: I was going to say, though, you're you told me

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Speaker 8: at Fallin that your your weapon of choice wasn't initially

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Speaker 8: the drums. You started out, you said as a piano player.

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Speaker 7: Yeah. Yeah, that's in my new book. Uh my mom

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Speaker 7: is the first chapter, because she encouraged me to play piano,

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Speaker 7: and I just was crazy for music and I wanted

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Speaker 7: to play any instrument. And then I got into junior

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Speaker 7: high and there was no piano in the band or

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Speaker 7: the orchestra, and I chose clarinet because I thought, you know,

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Speaker 7: Benny Goodman's cool whatever. And I had braces on my

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Speaker 7: teeth and they said, no, no, no, you can't do that.

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Speaker 7: You're trying to push them back and they're going to

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Speaker 7: come out with that instrument. So drums. Yeah, so I

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Speaker 7: owe my career to the dentist.

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Speaker 8: Oh so you're saying that adults encouraged you to play

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Speaker 8: the drums, because normally, in my situation, adults drums are

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Speaker 8: always the last resort of every drum guitar because their

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Speaker 8: parents don't want them to make noise or anything.

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Speaker 7: I got you, now, my parents were okay with it,

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Speaker 7: but quest did you have one of those black rubber

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Speaker 7: pads a drum pad you know us back, but they

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Speaker 7: have no sound And that's what you got to do

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Speaker 7: when you're too.

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Speaker 2: Loud, right exactly?

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Speaker 8: Well even that, I'll say, like my first two years

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Speaker 8: of taking drum lessons, you know, my teacher had like

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Speaker 8: this this shiny Ludwig drum set and also a practice

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Speaker 8: pad next to that drum set, and we would just

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Speaker 8: walk to the practice pad and I would ask him like, wait,

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Speaker 8: when do I get to play the post? And he's like,

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Speaker 8: you're not ready yet. So like for two years I

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Speaker 8: had to play on that practice pad, almost like it

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Speaker 8: was like torture for you know, to sit there in

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Speaker 8: front of that drum set and not even touch it

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Speaker 8: for the first two years.

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Speaker 7: Yeah, no, same deal with me. I was told if

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Speaker 7: I took private lessons, I'd get better, and so I did,

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Speaker 7: and I was surrounded by drum sets on the damn

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Speaker 7: practice pad with the teacher.

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Speaker 2: So who's your like, who's your north star?

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Speaker 8: As far as drumming was concerned, like, you know, because

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Speaker 8: I mean you were the rock era, the modern rock era,

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Speaker 8: so it wasn't like you have tales of seeing anyone

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Speaker 8: that modern musicians see now. So who was your north star?

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Speaker 8: As far as like like who would have been your

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Speaker 8: beatles on Sullivan Movement? As far as like that's what

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Speaker 8: I want to do for a living?

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Speaker 7: Elvin Jones, Wow, great. I got my fake ID in

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Speaker 7: Tijuana and went to Shelley's man Hall, which the door

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Speaker 7: man looked at and said, this is fake, but come

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Speaker 7: on in, you know, and I saw Coltrane many times.

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Speaker 2: Oh my god, I want to say that your fake ID,

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Speaker 2: said Elvin Jones on it.

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Speaker 8: What was that like to see people that we take

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Speaker 8: for granted? I don't think we've ever had a guest

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Speaker 8: on the show that.

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Speaker 2: I saw Coltrane?

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Speaker 8: Yeah, that seem like gods and you knew they were

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Speaker 8: gods then? So what was that like for you to see?

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Speaker 7: All right? Well you can read all about it in

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Speaker 7: my new book. The second or third chapter is on Elvin.

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Speaker 7: So you know, I knew there was magic. I mean

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Speaker 7: I didn't know that I was seeing iconic that people

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Speaker 7: were going to be just legendary, you know, but I

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Speaker 7: sensed just I don't know, there was fire and energy,

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Speaker 7: Like I couldn't believe the conversation Elvin would have with Coltrane.

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Speaker 7: They'd just be you know, he'd keep the groove, but

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Speaker 7: he'd be riffing off him all the time. And you know,

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Speaker 7: it gave me a little courage now and then to

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Speaker 7: riff off Jim Morrison, you know, fuck around with what

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Speaker 7: he's saying and you know, keep the groove. But you know, Elvin,

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Speaker 7: he's my man. And so after Coltrane died, I saw Elvin. Well,

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Speaker 7: let me back up, all right. So my my idols

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Speaker 7: are in the dressing room at the As Club, and

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Speaker 7: the bathroom is right next to the jazz club, next

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Speaker 7: to the uh my brain. It's one of the musicians

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Speaker 7: hang out in the greenroom green room, and so I

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Speaker 7: went to the bathroom a lot because they were right

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Speaker 7: around the corner, you know. And I was afraid to

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Speaker 7: say anything. But later, after Coltrane died, I I introduced

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Speaker 7: myself to Elvin and then I had I have three

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Speaker 7: self centered memoirs, and the first one, Riders on the Storm,

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Speaker 7: I gave to Elvin, and I quickly said Hey man,

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Speaker 7: I wrote in here you gave me my hands, you know,

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Speaker 7: worried that he would be condescending, this jazz giant, and

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Speaker 7: he was so warm and friendly, and I saw him

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Speaker 7: many more times and I took his symbol bag to

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Speaker 7: the car towards the end of his life. So we're

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Speaker 7: talking to real mentor you.

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Speaker 2: Know, what was it about his playing?

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Speaker 10: Because a lot of homies I went to school with

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Speaker 10: that were in the jazz department, they all like just

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Speaker 10: swore by Elvin Jones. So if you could explain to

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Speaker 10: kind of a layperson on what was it about his

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Speaker 10: drumming technique that just made him so amazing?

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Speaker 7: I think they called it poly rhythms, you know. I

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Speaker 7: mean he'd have the pocket. You have to have the pocket,

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Speaker 7: of course, but he was continually playing triplets and all

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Speaker 7: this shit all going on all the time, like churning

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Speaker 7: up an rhythmic egg beater, and it sounded like he

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Speaker 7: was going to fall into his kit.

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Speaker 3: He was. It was just but he didn't, you know, Yeah.

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Speaker 7: I don't know. That's how I describe it, you know.

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Speaker 2: That's what's up.

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Speaker 3: Can I ask a question, so, with with your clear

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Speaker 3: love for jazz, did you ever actually play jazz in

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Speaker 3: a in a serious way.

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Speaker 8: Yeah.

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Speaker 7: A few years back I had a group called Tribal Jazz,

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Speaker 7: which was jazz quartet or quintet with two African drummers,

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Speaker 7: which was really fun because you know, I'm trying to

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Speaker 7: integrate Senegalese rhythms into a drum kit, you know, so

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Speaker 7: it rearranged some brain cells.

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Speaker 2: That was good.

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Speaker 3: And what about back when you were younger, did you

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Speaker 3: play any jazz then?

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Speaker 7: Well, as a kid like crazy, and then I stumbled

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Speaker 7: into this rock band.

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Speaker 10: I say it worked out pretty good.

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Speaker 8: Well, let me let me ask because yeah, like was

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Speaker 8: there music musical snobbery uh in the in the sixties

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Speaker 8: to the level of where you know, like it was

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Speaker 8: a big deal for like Leonard Cohen to say, like

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Speaker 8: I actually like the Beatles like that.

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Speaker 2: Sort of thing.

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Speaker 8: Oh, I see, was it was it a struggle back

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Speaker 8: then to win respect?

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Speaker 4: Like did you care as much or just were you unaware?

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Speaker 7: Uh? Back then the whole country was polarized into four

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Speaker 7: and against the Vietnam War, kind of like today's kind

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Speaker 7: of polarized, you know, and uh, you know rock and

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Speaker 7: roll was against the war and any sort of liberal

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Speaker 7: bent and so you were either for that or you know,

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Speaker 7: I would say that country music kind of represented the

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Speaker 7: other side. But the last chapter I got in this

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Speaker 7: book is on Willie Nelson, And you know, I'm looking

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Speaker 7: for the soul in any genre. You know, I can

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Speaker 7: get fed by if you're if you're saying something truthful,

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Speaker 7: and if it's in a simplistic form, it doesn't matter. Man.

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Speaker 7: In fact, in my old age, I've learned that if

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Speaker 7: I put the right symbol crash in the exact right spot,

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Speaker 7: it can be as powerful as you know, in my

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Speaker 7: twenties when I showed all my shit or when I

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Speaker 7: had more chops, you know what I mean?

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Speaker 8: What was the what was the modern music scene like

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Speaker 8: in Los Angeles in the mid sixties before yeah, before

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Speaker 8: you guys really got established, Like was Whiskey a go

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Speaker 8: go a thing sort of before you guys came along,

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Speaker 8: or like what was Yeah, it was just a modern scene.

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Speaker 7: Like exactly, No, the Whiskey was mecca and we were

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Speaker 7: playing in a little club a block down from the

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Speaker 7: Whiskey the night we were fired because there was a fight,

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Speaker 7: which we did not cause, but they blamed it on

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Speaker 7: the band. The booker from the Whiskey dropped in and

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Speaker 7: saw us, and she hired us as the house band

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Speaker 7: at the Whiskey, and it was heaven. I mean every

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Speaker 7: night the streets were packed with hippies and music freaks

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Speaker 7: and every band that came in, I don't know, let's

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Speaker 7: see Frank Zappa, Captain Beefheart, Van Morrison, et cetera, et cetera,

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Speaker 7: the Birds all. You know, they had to deal with

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Speaker 7: the opening act. Wow, I don't mean to well that

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Speaker 7: sounds a little self serving, but we were we were different.

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Speaker 7: We you know, we were the undeclared Vietnam War. We

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Speaker 7: were not singing about peace and love. We were singing

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Speaker 7: about this is the end, beautiful friend man. Things are

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Speaker 7: there's a lot of lying going on, and so you know,

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Speaker 7: we played light my Fire and everybody dance and that

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Speaker 7: was really cool. And then we play the end and

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Speaker 7: it got very quiet and then people had to follow that,

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Speaker 7: the other bands, which I mean, we were friends with

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Speaker 7: them all. But it was a really cool scene.

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Speaker 8: Were what were your thoughts on like the postmod kind

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Speaker 8: of movement of music, like people that weren't that political,

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Speaker 8: more poppy, like I guess I still want to know,

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Speaker 8: like where they're different tribes or different clicks of did

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Speaker 8: you guys mess together at all?

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Speaker 2: You know?

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Speaker 7: The British invasion was kind of poppy, you know, but

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Speaker 7: then then we all started experimenting with then legal psychedelics

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Speaker 7: and the Beatles' music got a little darker like ours.

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Speaker 8: Yeah, did you appreciate it at the time, Well, appreciate

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Speaker 8: their contribution at the time.

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Speaker 4: You know, it's it's from from a person from my generation.

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Speaker 8: We'll be quick to lump like anyone that came from

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Speaker 8: the mid to late sixties in the same bowl, you know,

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Speaker 8: whereas I'm certain that three four decades from now, you know,

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Speaker 8: somebody will look at my band or Fonte's band and

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Speaker 8: you know just think like, oh, okay, well you know,

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Speaker 8: Kanye West outcast, you guys are all the same where

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Speaker 8: we've talked much shit about each other and that sort

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Speaker 8: of thing.

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Speaker 4: So like, you know, were you.

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Speaker 8: Your thoughts on your contemporaries at the time, like Zones, Yeah,

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Speaker 8: the Beatles, the Who, the Kinks.

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Speaker 7: Let me break it down. You know, in the beginning,

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Speaker 7: I I was a jazz snob, but I was certainly

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Speaker 7: aware of the roots of rock and roll. Chuck Berry

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Speaker 7: and Little Richard and all and and Elvis and whatever.

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Speaker 7: Then I saw these four mop tops on Ed Sullivan

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Speaker 7: and I thought, wow, man, what are they gay?

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Speaker 2: What is this?

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Speaker 6: You know?

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Speaker 7: And uh then I noticed I noticed their melodies. I thought, wow,

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Speaker 7: you know, because melodies, man, are they key? I don't

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Speaker 7: I don't care if it's heavy metal or country. If

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Speaker 7: you got a beautif for melody with a with a

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Speaker 7: cool lyric, they gotta be wetted together. Wow, you got

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Speaker 7: great songs. So you know, I knew the Beatles had

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Speaker 7: great songs.

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Speaker 6: And we.

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Speaker 7: Looked up to the Stones and like that van.

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Speaker 8: Were they of an older generation to you? Because even

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Speaker 8: in my world, like someone that came out four or

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Speaker 8: five years ago, I'll see that as in hip hop terms,

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Speaker 8: like someone that made their debut in two thousand and

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Speaker 8: ten even is kind of old. Even even though they're

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Speaker 8: not old school, they're considered old school. So, you know,

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Speaker 8: because of the of the years between you guys them

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Speaker 8: starting in sixty one sixty two, was it still the

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Speaker 8: same fraternity or were they seeing as older statesmen? Not

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Speaker 8: older statesmen, but that's what I'm assing.

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Speaker 7: No, they were just a few years old, so they

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Speaker 7: weren't an entirely different genre, you know, you know, and

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Speaker 7: then as you go along, can you keep making records

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Speaker 7: that are important? And a lot of folks followed by

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Speaker 7: the wayside, and we managed to do okay, even though Jim,

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Speaker 7: you know, he started drinking so much that it got

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Speaker 7: quite difficult, you know, Like I got a chapter in

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Speaker 7: this new book on Jim, and one on janis two

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Speaker 7: cautionary Janice Choplin two cautionary tales. You know, self destruction

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Speaker 7: and creativity coming the same package with them, but not

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Speaker 7: with everybody.

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Speaker 4: We're we're really good friends with Shep Gordon.

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Speaker 8: Oh yeah, told us a lot about the scene in

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Speaker 8: La especially at the hotel.

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Speaker 2: I forget the hotel and sunset where yeah.

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Speaker 8: Every yeah, everyone yeah, well yeah, everyone just hungt and whatnot.

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Speaker 8: Like the book of the group love and and all

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Speaker 8: those things. Were you directly like a part of that scene,

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Speaker 8: like off stage where you guys sort.

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Speaker 7: Of not quite that scene. I'm trying to think of

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Speaker 7: the hotel too. But but but once you played the whiskey,

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Speaker 7: Mario the door guy let anybody in, so we would

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Speaker 7: all go see each other when we were not playing,

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Speaker 7: and so was it fraternity, you know? And we love

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Speaker 7: for example, man, they were really like them a lot.

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Speaker 7: They were so different. Forever Changes is it masterpiece of

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Speaker 7: that album?

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Speaker 3: Yeah, Forever Change, Forever Changes is masterpiece. It's you know,

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Speaker 3: the that's from the Summer I love too. I mean

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Speaker 3: there was there's just like there's a few there's a

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Speaker 3: few albums from from that era that are just Yeah.

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Speaker 7: I want to get on the soapbox for a second.

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Speaker 7: Get pissed off when people dissed the sixties as a failure.

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Speaker 2: Wait, who.

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Speaker 7: Good?

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Speaker 8: Okay, life based on everything from the sixties.

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Speaker 5: There's a progress without the sixties.

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Speaker 7: I never mind what I was going to say.

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Speaker 2: I want to hear it.

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Speaker 5: It's feeling that way, so glad I talks about it.

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Speaker 8: Well, there there is a perception that like post sixty nine,

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Speaker 8: that there was not not diminished returns per se, but

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Speaker 8: everything was over and everything that that was fought for

380
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Speaker 8: and built.

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Speaker 4: Was sort of just washed away. So well, what were

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Speaker 4: you were saying?

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Speaker 7: Well, yeah, the seeds of civil rights, the peace movement,

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Speaker 7: feminism all were planted in the sixties, and maybe these

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Speaker 7: seeds like a long time fifty hundred years for full fruition.

386
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Speaker 7: So don't dis you know, we're on the shoulders of

387
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Speaker 7: all folks before and so you know, yeah, progress is

388
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Speaker 7: not as fast as we wanted, you know, like uh,

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Speaker 7: ge Obama got elected, so there's no more racism. Yeah

390
00:22:21,720 --> 00:22:30,960
Speaker 7: right right, you know so. But anyway, and speaking of which,

391
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Speaker 7: I was hoping, uh, sometime during this podcast, I could

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Speaker 7: do a five minute poem for Stacy Abrams. Oh, because

393
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Speaker 7: because I've been thinking about Jesus all right now I'm

394
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Speaker 7: going to approve it. I'm going to approve I'm the drummer,

395
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Speaker 7: not the singer. I've been thinking about Jojo Jojia, no

396
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Speaker 7: piece f fun.

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Speaker 3: You're on my mind.

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Speaker 7: Then they're voting.

399
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Speaker 8: Yeah, so everybody, man, I want to do by the

400
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Speaker 8: time this area as we'll have the results that we want.

401
00:23:07,840 --> 00:23:08,080
Speaker 7: Yeah.

402
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Speaker 5: Yeah, but we're going to get that poem too, because

403
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Speaker 5: I want to get that old stay.

404
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Speaker 2: Yes, I was.

405
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Speaker 10: Curious to know, man, do you have to give us

406
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Speaker 10: kind of a parallel the band that The Doors and

407
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Speaker 10: kind of what you guys represented, Uh when you guys

408
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Speaker 10: came out, who would you say is probably the closest

409
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Speaker 10: modern day contemporary And by modern day, I mean it

410
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Speaker 10: could be anyone from the last you know, twenty years whatever.

411
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Speaker 10: But uh, that you think kind of embodies the spirit

412
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Speaker 10: of what you guys were about.

413
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Speaker 7: Oh, putting me on the spot here, I.

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Speaker 3: Mean Nirvana would be my guess. Really. Yeah, it's weird.

415
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Speaker 8: Though I always thought the Doors were doors are really

416
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Speaker 8: kind of I feel like the Doors are hip hop

417
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Speaker 8: as far as they were concerned.

418
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Speaker 7: Yeah, yeah, yeah, that's good. That's good. Okay, let me

419
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Speaker 7: let me tell you something. Way back, Jay Z asked.

420
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Speaker 4: For five to one.

421
00:24:05,240 --> 00:24:07,600
Speaker 7: Five to one, yeah, you know, and I was just

422
00:24:07,640 --> 00:24:10,120
Speaker 7: coming on board. I didn't know what was happening, and

423
00:24:10,160 --> 00:24:12,959
Speaker 7: I went, wait a minute, you know what, huh, it's

424
00:24:13,040 --> 00:24:15,360
Speaker 7: all bitches and hoes. No, you can't have it.

425
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Speaker 3: And he he.

426
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Speaker 7: Writes me a letter, and he sends me a Team

427
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Speaker 7: Rock jersey, and he breaks it down for me and said, man,

428
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Speaker 7: you know, we're doing what you're doing, fighting the establishment,

429
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Speaker 7: going for truth. And and then I got it, Believe me,

430
00:24:32,119 --> 00:24:32,560
Speaker 7: I got it.

431
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Speaker 2: Along those lines.

432
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Speaker 9: The Doors is one of the only bands that I

433
00:24:39,680 --> 00:24:42,240
Speaker 9: can think of that didn't have a bass player. And

434
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Speaker 9: while Ray played bass in his left hand, it is

435
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Speaker 9: one of the few bands that didn't have like a

436
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Speaker 9: legit bass player. Can you talk about what that was like,

437
00:24:49,880 --> 00:24:51,920
Speaker 9: because yeah, it's not a thing.

438
00:24:52,600 --> 00:24:58,440
Speaker 7: It's not enrmaluh A lot of work. I mean usually

439
00:24:58,480 --> 00:25:00,680
Speaker 7: the bass player and the drummer or the rhythm section,

440
00:25:00,760 --> 00:25:03,320
Speaker 7: you know, holding holding down the groove in the basement.

441
00:25:03,480 --> 00:25:08,600
Speaker 7: And it was me and Ray's left hand, and uh,

442
00:25:08,640 --> 00:25:13,960
Speaker 7: but but but he he he played simplified sort of

443
00:25:14,000 --> 00:25:17,359
Speaker 7: boogie woogie bass lines with his left hand, which turned

444
00:25:17,359 --> 00:25:20,640
Speaker 7: out to be gold like dome, don't, don't do, don't

445
00:25:21,160 --> 00:25:27,360
Speaker 7: just hooky stuff. And so fortunately we felt the same pocket. Actually,

446
00:25:27,400 --> 00:25:30,600
Speaker 7: the first tune we played together ever was All Blues

447
00:25:30,680 --> 00:25:34,879
Speaker 7: by Miles Davis, Yeah, which is in three, you know.

448
00:25:35,000 --> 00:25:37,840
Speaker 7: And then I knew Ray, I knew Ray knew some ship.

449
00:25:38,040 --> 00:25:42,360
Speaker 7: So uh, we played the blues and we were sort

450
00:25:42,359 --> 00:25:44,720
Speaker 7: of laying back on the groove as you do with

451
00:25:44,760 --> 00:25:47,080
Speaker 7: the blues. And then we started writing our own stuff

452
00:25:47,119 --> 00:25:49,040
Speaker 7: and then we kind of found our pocket.

453
00:25:49,920 --> 00:25:53,600
Speaker 10: But so were you and Ray the kind of the beginning,

454
00:25:53,680 --> 00:25:56,399
Speaker 10: the start of the doors, were you to primary songwriters

455
00:25:56,480 --> 00:25:58,560
Speaker 10: or how the well.

456
00:25:58,480 --> 00:26:02,800
Speaker 7: Jim had all these words and melodies and couldn't play

457
00:26:02,880 --> 00:26:08,719
Speaker 7: one chord on any instrument. We're talking gifted here, So

458
00:26:09,520 --> 00:26:14,320
Speaker 7: he would sing a cappella and you know, roadhouse blues,

459
00:26:14,359 --> 00:26:16,680
Speaker 7: which we played with what I played with you guys,

460
00:26:16,760 --> 00:26:19,879
Speaker 7: you know is blues. That's not too difficult. But he

461
00:26:20,080 --> 00:26:27,280
Speaker 7: would sing these complicated before you slip into unconsciousness, I'd

462
00:26:27,440 --> 00:26:31,600
Speaker 7: like to have another kiss, Like, wait a minute, f sharp,

463
00:26:31,720 --> 00:26:34,040
Speaker 7: what the hell? You know? He just had to ship

464
00:26:34,080 --> 00:26:36,920
Speaker 7: in his head so wow.

465
00:26:37,240 --> 00:26:39,080
Speaker 4: You know, So what were those songwriting sessions?

466
00:26:39,160 --> 00:26:41,480
Speaker 8: Like, like he would just would it start with him

467
00:26:41,520 --> 00:26:43,440
Speaker 8: and his words first, you guys, figure out where he's

468
00:26:43,440 --> 00:26:43,840
Speaker 8: going with it.

469
00:26:43,960 --> 00:26:46,480
Speaker 7: Yeah, yeah, yeah, we'd figure out the groove. Then we'd

470
00:26:46,520 --> 00:26:50,800
Speaker 7: stop and change chords or say, oh man, we need

471
00:26:50,840 --> 00:26:53,880
Speaker 7: a bridge or a solo here or whatever. So that's

472
00:26:54,000 --> 00:26:57,840
Speaker 7: why he said, Hey, let's credit all the songs written

473
00:26:57,840 --> 00:27:00,840
Speaker 7: by the Doors, not lyrics by me, you know, wow,

474
00:27:00,920 --> 00:27:06,440
Speaker 7: and let's split all the dough really WOWO.

475
00:27:07,760 --> 00:27:09,400
Speaker 5: Can I ask a question because you met, you talked

476
00:27:09,400 --> 00:27:11,560
Speaker 5: about this and you touched on it. But I gotta

477
00:27:11,600 --> 00:27:13,679
Speaker 5: know you said you were kind of like in your

478
00:27:13,720 --> 00:27:16,119
Speaker 5: own snobby sense when you were an early musician, and

479
00:27:16,240 --> 00:27:19,080
Speaker 5: somehow you met him and he convinced you to go

480
00:27:19,119 --> 00:27:20,760
Speaker 5: to this route, because it sounds like you weren't even

481
00:27:20,760 --> 00:27:23,080
Speaker 5: trying to go this rock and roll route, like you

482
00:27:23,119 --> 00:27:25,280
Speaker 5: had this this jazz mind. So what was that moment

483
00:27:26,280 --> 00:27:28,280
Speaker 5: that he convinced you?

484
00:27:28,280 --> 00:27:31,320
Speaker 7: You know, I was passionate for music, but I never

485
00:27:31,359 --> 00:27:33,639
Speaker 7: thought i'd make a living at it, you know what

486
00:27:33,680 --> 00:27:34,000
Speaker 7: I mean?

487
00:27:34,280 --> 00:27:37,360
Speaker 2: What did you do in the club? You know how?

488
00:27:37,920 --> 00:27:40,800
Speaker 7: And then when when the doors got going, Oh god, man,

489
00:27:40,920 --> 00:27:43,680
Speaker 7: you know, if we can pay the rent for a decade,

490
00:27:43,720 --> 00:27:47,320
Speaker 7: wouldn't that be a miracle. Well let's see. Yeah, I'm

491
00:27:47,440 --> 00:27:52,000
Speaker 7: seventy six, and that's wow. Fifty years later, I'm still

492
00:27:52,040 --> 00:27:53,440
Speaker 7: talking about this damn band.

493
00:27:53,520 --> 00:27:56,640
Speaker 5: But you know, was it a conversation that you had

494
00:27:56,680 --> 00:27:59,080
Speaker 5: that that convinced you that I'm gonna ride this ride

495
00:27:59,160 --> 00:28:01,119
Speaker 5: because I know that this is going somewhere or was

496
00:28:01,160 --> 00:28:02,840
Speaker 5: it something that he sang or something?

497
00:28:03,000 --> 00:28:06,480
Speaker 7: Yeah? Yeah, good, good, good good. All right. So after

498
00:28:06,520 --> 00:28:09,000
Speaker 7: we play all blues and I'm noticing this guy in

499
00:28:09,040 --> 00:28:11,560
Speaker 7: the corner, and Ray says, Jim, this is Jim the singer.

500
00:28:11,800 --> 00:28:14,720
Speaker 7: He's never sung before, and he can't play any instrument,

501
00:28:14,800 --> 00:28:19,320
Speaker 7: but look at these lyrics. And he hands me a

502
00:28:19,320 --> 00:28:22,359
Speaker 7: crumpled piece of paper and on the paper it says,

503
00:28:23,560 --> 00:28:28,320
Speaker 7: day destroys, the night, night divides, the day, tried to run,

504
00:28:28,560 --> 00:28:31,240
Speaker 7: tried to hide, break on through to the other side.

505
00:28:31,760 --> 00:28:37,680
Speaker 7: Oh okay, right right away, right rhythmic stuff starts. That's

506
00:28:37,760 --> 00:28:39,360
Speaker 7: that pulled me in immediately, you know.

507
00:28:40,160 --> 00:28:42,560
Speaker 2: So was I always wanted to know?

508
00:28:42,760 --> 00:28:49,160
Speaker 8: Was that song somewhat and influenced from ray Charles?

509
00:28:49,200 --> 00:28:49,880
Speaker 2: Is what I say?

510
00:28:51,200 --> 00:28:56,960
Speaker 7: Oh wow, it's funny, man sat Oh it's good. No,

511
00:28:58,040 --> 00:29:01,920
Speaker 7: you know I used to play that, uh what I say,

512
00:29:02,240 --> 00:29:04,200
Speaker 7: Only I couldn't do it with one hand. I had

513
00:29:04,200 --> 00:29:07,480
Speaker 7: to have both hands on the bell of the ride

514
00:29:07,480 --> 00:29:12,560
Speaker 7: symbol didn't have the chops yet. Anyway, what was going

515
00:29:12,600 --> 00:29:17,120
Speaker 7: on was Bosa Nova was coming up from Brazil big time,

516
00:29:17,360 --> 00:29:26,840
Speaker 7: big time, and so this little U and I'm digging

517
00:29:26,920 --> 00:29:32,400
Speaker 7: the groove. It's real light. Okay, I'm gonna make it

518
00:29:32,440 --> 00:29:35,800
Speaker 7: stiffer and harder and faster. And so I copped the

519
00:29:35,840 --> 00:29:38,440
Speaker 7: whole thing and made it rock and roll, but break

520
00:29:38,440 --> 00:29:41,280
Speaker 7: on through. It's kind of a rock and Bosan Nova

521
00:29:41,400 --> 00:29:44,520
Speaker 7: rock or whatever rock boser rock.

522
00:29:45,800 --> 00:29:49,400
Speaker 3: And I asked a question getting back to it, what

523
00:29:49,480 --> 00:29:53,960
Speaker 3: Bill asked you about playing with with Raymond's eric and

524
00:29:54,040 --> 00:29:56,240
Speaker 3: him playing the bass with his left hand.

525
00:29:58,600 --> 00:29:58,840
Speaker 2: Uh.

526
00:29:58,880 --> 00:30:03,360
Speaker 3: So that's that's that's the main that's the doors sound basically.

527
00:30:03,400 --> 00:30:07,800
Speaker 3: But on later albums, you did use uh, actual electric

528
00:30:07,840 --> 00:30:10,600
Speaker 3: bass players on certain on certain things.

529
00:30:10,600 --> 00:30:14,640
Speaker 7: Really really good question, Yeah, yeah.

530
00:30:14,520 --> 00:30:19,040
Speaker 3: Just I mean my question is, actually, you know, as

531
00:30:19,080 --> 00:30:23,640
Speaker 3: the drummer, from the drummers perspective, what's the difference in being,

532
00:30:24,000 --> 00:30:26,720
Speaker 3: you know, part half of the rhythm section with somebody

533
00:30:26,720 --> 00:30:29,040
Speaker 3: who's playing it on the organ and somebody who's playing

534
00:30:29,040 --> 00:30:29,840
Speaker 3: it with the guitar.

535
00:30:30,640 --> 00:30:35,760
Speaker 7: Well, first of all, when we played live, when Ray

536
00:30:35,800 --> 00:30:39,640
Speaker 7: would take a solo on organ, he'd get excited and

537
00:30:39,720 --> 00:30:41,400
Speaker 7: the bass player would speed up.

538
00:30:41,480 --> 00:30:46,920
Speaker 4: Holy moly, there's no more frustrating that happening.

539
00:30:47,040 --> 00:30:51,239
Speaker 7: I got to pull the reins back. Okay. So this

540
00:30:51,440 --> 00:30:56,800
Speaker 7: was before Moog synthesizers were even invented. So we knew

541
00:30:56,880 --> 00:31:00,480
Speaker 7: that the keyboard bass, he had a Fender Roads keyboard

542
00:31:00,480 --> 00:31:04,440
Speaker 7: basic kind of kind of was mushy, yeh, and it

543
00:31:04,560 --> 00:31:07,560
Speaker 7: needed a little more punch. And so even on the

544
00:31:07,600 --> 00:31:11,560
Speaker 7: first record we had Larry Neckt old studio bass player

545
00:31:11,720 --> 00:31:17,840
Speaker 7: over dub on Fender electric bass Ray's exact bass lines

546
00:31:17,880 --> 00:31:20,400
Speaker 7: to give it the pluck of the string. Gave it

547
00:31:20,480 --> 00:31:25,240
Speaker 7: the punch we needed, you know. And then later we

548
00:31:25,280 --> 00:31:28,640
Speaker 7: did have bass players and you know, God, Harvey Brooks

549
00:31:28,760 --> 00:31:32,800
Speaker 7: was on Soft Parade. Great bass player played with Dylan

550
00:31:32,880 --> 00:31:36,600
Speaker 7: and the Electric Flag and so that was a lot

551
00:31:36,640 --> 00:31:40,560
Speaker 7: of fun for me. You know, Elvis's bass player played

552
00:31:40,560 --> 00:31:44,480
Speaker 7: on La Woman Jerry Chef, and that was cool. He

553
00:31:44,560 --> 00:31:48,400
Speaker 7: even said that he put a little line from the

554
00:31:48,520 --> 00:31:50,280
Speaker 7: La Woman do do Do Do Do Do Do Do

555
00:31:50,280 --> 00:31:52,000
Speaker 7: Do do do? He stuck a little bit of it

556
00:31:52,080 --> 00:31:53,840
Speaker 7: in an Elvis recording session.

557
00:31:53,920 --> 00:31:57,680
Speaker 3: So that's good. So we can just finish up this

558
00:31:57,760 --> 00:32:03,040
Speaker 3: thought that playing play with Ray versus playing with Harvey Brooks,

559
00:32:04,280 --> 00:32:05,760
Speaker 3: you know, from a rhythm section.

560
00:32:05,840 --> 00:32:09,400
Speaker 7: Yes, yeah, well, I mean I could almost play one handed,

561
00:32:09,440 --> 00:32:13,640
Speaker 7: because when there's a separate bass player plucking and concentrating

562
00:32:13,680 --> 00:32:19,160
Speaker 7: on the groove, you know, he's helped, he's your brother helping.

563
00:32:19,600 --> 00:32:23,000
Speaker 7: It's it's easier, you know, and you play off each

564
00:32:23,080 --> 00:32:26,400
Speaker 7: other and whatever. And Ray was playing sort of simplistic lines,

565
00:32:26,800 --> 00:32:31,160
Speaker 7: but it kind of gave space. There was more air

566
00:32:31,280 --> 00:32:34,880
Speaker 7: and openness in the sound, which was quite cool and unique.

567
00:32:35,160 --> 00:32:40,000
Speaker 7: You know, we auditioned bass players way back. We even

568
00:32:40,040 --> 00:32:43,080
Speaker 7: had a girl for a minute there, but we felt

569
00:32:43,120 --> 00:32:48,000
Speaker 7: like we sound like another white blues band, the Rolling

570
00:32:48,000 --> 00:32:51,240
Speaker 7: Stones or something. And then we discovered this keyboard base

571
00:32:51,320 --> 00:32:55,240
Speaker 7: went oh Man and the guy who made all the

572
00:32:55,360 --> 00:32:58,160
Speaker 7: LSD in San Francisco. I can't think of his name.

573
00:32:58,680 --> 00:33:01,960
Speaker 3: He can't think of his name, of course, well I can't.

574
00:33:03,400 --> 00:33:04,120
Speaker 2: What was your.

575
00:33:06,720 --> 00:33:11,880
Speaker 7: He We're playing one of the psychedelic ballrooms. He comes back, Owsley,

576
00:33:12,360 --> 00:33:15,960
Speaker 7: that's his name, Owsley. He comes backstage and says, hey, man,

577
00:33:16,360 --> 00:33:20,320
Speaker 7: you guys, you're great. You got a hole in your sound, though,

578
00:33:20,360 --> 00:33:24,000
Speaker 7: you need a bass player. He leaves, and I turned

579
00:33:24,000 --> 00:33:28,120
Speaker 7: to Ray and I said, Wow, we're making the acid

580
00:33:28,240 --> 00:33:30,360
Speaker 7: King nervous. I think we're on the right track here.

581
00:33:33,160 --> 00:33:37,240
Speaker 2: I have a question of I can't think of another.

582
00:33:37,520 --> 00:33:44,120
Speaker 8: Besides besides the Look of Love, I believe that Light.

583
00:33:44,040 --> 00:33:48,320
Speaker 2: My Fire, the most covered song, is probably No, No, No.

584
00:33:48,480 --> 00:33:50,560
Speaker 8: Even more than that, I feel like Light my Fire

585
00:33:50,760 --> 00:33:56,560
Speaker 8: is probably the only song in which you cannot drop

586
00:33:56,640 --> 00:34:01,320
Speaker 8: the ball as far as covering is concerned, and billions

587
00:34:01,360 --> 00:34:06,080
Speaker 8: of people have covered it. Do you have a preference

588
00:34:06,120 --> 00:34:09,239
Speaker 8: of of of the many covers that good of that

589
00:34:09,400 --> 00:34:10,000
Speaker 8: of that song?

590
00:34:10,960 --> 00:34:14,200
Speaker 7: First of all, quest thanks for putting Light My Fire

591
00:34:14,239 --> 00:34:17,000
Speaker 7: in the same category as the Look of Love.

592
00:34:17,120 --> 00:34:23,640
Speaker 8: Who's saying I never found who never found a bad

593
00:34:23,719 --> 00:34:26,520
Speaker 8: cover of Light My Fire? Never found a back cover

594
00:34:26,880 --> 00:34:29,239
Speaker 8: look of Love, like it's impossible to drop the ball

595
00:34:29,280 --> 00:34:29,759
Speaker 8: in that song?

596
00:34:29,920 --> 00:34:31,160
Speaker 7: Who sang look a Love?

597
00:34:32,800 --> 00:34:36,240
Speaker 2: The original was God? Who was the original?

598
00:34:39,080 --> 00:34:40,279
Speaker 3: Probably know?

599
00:34:40,320 --> 00:34:42,120
Speaker 2: It's bird back.

600
00:34:42,760 --> 00:34:47,480
Speaker 7: Right right, right right? Okay? So what what's cool is

601
00:34:47,560 --> 00:34:51,960
Speaker 7: somebody covers your song and finds a new way to

602
00:34:52,520 --> 00:34:56,680
Speaker 7: interpret it. That's really cool. I mean, it's cool to

603
00:34:56,719 --> 00:34:59,960
Speaker 7: get any song covered, even if they copy your arrangement,

604
00:35:00,000 --> 00:35:01,480
Speaker 7: because you get the writer's share.

605
00:35:02,160 --> 00:35:05,280
Speaker 2: But facts.

606
00:35:05,560 --> 00:35:11,200
Speaker 7: But jose Feliciano takes my fire, it makes it a

607
00:35:11,320 --> 00:35:15,480
Speaker 7: ballad and we all went, oh, that is beautiful.

608
00:35:16,080 --> 00:35:17,960
Speaker 2: What did you think of Al Green's version? Man? I

609
00:35:17,960 --> 00:35:19,439
Speaker 2: think that's probably my favorite one.

610
00:35:20,000 --> 00:35:23,040
Speaker 7: I bet I can't. I didn't hear it? Give it

611
00:35:23,080 --> 00:35:24,440
Speaker 7: to me that really? He did it?

612
00:35:25,040 --> 00:35:30,560
Speaker 2: Were you never version? Can we play? Oh my god?

613
00:35:32,280 --> 00:35:33,000
Speaker 2: This is fair use?

614
00:35:33,360 --> 00:35:35,000
Speaker 7: Yeah? Yeah, yeah, fair use.

615
00:35:35,120 --> 00:35:38,480
Speaker 5: We talk about charistic yeah, even.

616
00:35:38,280 --> 00:35:43,360
Speaker 2: The spoken part the right right have his version?

617
00:35:43,440 --> 00:35:46,120
Speaker 10: And have you, uh, John, have you ever heard the

618
00:35:46,160 --> 00:35:46,800
Speaker 10: Free Design?

619
00:35:47,239 --> 00:35:49,600
Speaker 2: Have you ever heard their version of Jesus Christ? Yeah?

620
00:35:49,680 --> 00:35:55,920
Speaker 2: Free Design? They they just they like the Mamas and

621
00:35:55,960 --> 00:35:57,040
Speaker 2: napapas on LSD.

622
00:35:57,880 --> 00:36:04,000
Speaker 8: They takes chraumatic like Ninth Harmony chorts to another place.

623
00:36:04,560 --> 00:36:10,240
Speaker 8: I'll say the free Design is probably my go to version,

624
00:36:10,400 --> 00:36:12,680
Speaker 8: even though I love the Al's version. And actually it's

625
00:36:12,680 --> 00:36:17,080
Speaker 8: funny you mentioned Jose, Jose actually doubles down because even

626
00:36:17,120 --> 00:36:24,560
Speaker 8: on many Ripperton's version, Jose shows up and does his

627
00:36:24,680 --> 00:36:25,640
Speaker 8: riffing at the end.

628
00:36:26,080 --> 00:36:29,800
Speaker 3: Light of fire, right right, exactly exactly.

629
00:36:32,239 --> 00:36:35,960
Speaker 8: So okay, I I gotta know this because the one

630
00:36:35,960 --> 00:36:40,080
Speaker 8: thing that I know that you're a big one, which

631
00:36:40,719 --> 00:36:44,840
Speaker 8: you know, it's it's it's weird because even though with

632
00:36:45,400 --> 00:36:50,440
Speaker 8: the rebellion of the first wave of modern rock, not

633
00:36:50,600 --> 00:36:55,480
Speaker 8: modern rock, but you know, the the sixties rock cats

634
00:36:55,480 --> 00:37:01,359
Speaker 8: and hip hop cats, is this rebellious spirit to the system.

635
00:37:01,680 --> 00:37:06,800
Speaker 8: But somehow I will say that in hip hop terms,

636
00:37:08,080 --> 00:37:18,320
Speaker 8: our relationship with capitalism slightly different from the sixties rock generation.

637
00:37:18,680 --> 00:37:19,279
Speaker 2: How is that?

638
00:37:19,719 --> 00:37:24,480
Speaker 8: Yeah, you know, licensing songs and commercial uses. You know,

639
00:37:25,080 --> 00:37:29,400
Speaker 8: rappers about that all day a commercial whereas you know,

640
00:37:29,440 --> 00:37:32,319
Speaker 8: I often hear the sixties generations sort of like I'm

641
00:37:32,360 --> 00:37:34,640
Speaker 8: not selling out and da da da da d. So

642
00:37:34,719 --> 00:37:44,680
Speaker 8: you're world famous for your thumbs down on which you know,

643
00:37:45,440 --> 00:37:47,160
Speaker 8: I'm like, that must be nice, but.

644
00:37:47,760 --> 00:37:53,440
Speaker 7: Uh, I see it from all sides. I mean, you know,

645
00:37:53,520 --> 00:37:56,680
Speaker 7: Tavis Smiley said to me you're you're you're either really

646
00:37:56,719 --> 00:37:57,920
Speaker 7: great or you're crazy.

647
00:37:57,960 --> 00:37:59,440
Speaker 3: You know about that.

648
00:38:00,080 --> 00:38:05,480
Speaker 7: But you know, what, can I say it? If you're

649
00:38:05,480 --> 00:38:08,440
Speaker 7: trying to pay the rent and you get to do

650
00:38:08,520 --> 00:38:11,600
Speaker 7: it commercial paid, you do it. Man, It's hard enough

651
00:38:11,640 --> 00:38:17,040
Speaker 7: out there. What happened was that we got this offer,

652
00:38:18,080 --> 00:38:25,920
Speaker 7: come on Buick, Light my Fire and no.

653
00:38:26,440 --> 00:38:31,400
Speaker 2: Yeah, and you know the article that's not on the Google.

654
00:38:31,480 --> 00:38:33,120
Speaker 2: Like if the Google said that, it would be a

655
00:38:33,200 --> 00:38:34,000
Speaker 2: very different things.

656
00:38:34,320 --> 00:38:38,080
Speaker 10: Everyone would understand why you tell Yeah.

657
00:38:38,120 --> 00:38:41,839
Speaker 7: So Jim was out of town. It was a lot

658
00:38:41,880 --> 00:38:45,560
Speaker 7: of dough and we were kind of drooling, and he

659
00:38:45,640 --> 00:38:48,960
Speaker 7: came back and he said, yeah, let's do it. And

660
00:38:49,040 --> 00:38:52,240
Speaker 7: I got a really good idea for a TV ad.

661
00:38:52,640 --> 00:38:59,800
Speaker 7: I'll smash a Buick on television with a sledgehammer. That's idea, okay,

662
00:39:00,200 --> 00:39:06,799
Speaker 7: And that's on fire, that's a no. And so all right,

663
00:39:07,840 --> 00:39:11,880
Speaker 7: Jim wrote one line in Light my Fire. Robbie Krieger

664
00:39:12,000 --> 00:39:17,200
Speaker 7: wrote all the lyrics, and Jim added, our love become

665
00:39:17,239 --> 00:39:23,000
Speaker 7: a funeral Pyre Morrison esque. And so this guy is

666
00:39:23,040 --> 00:39:28,560
Speaker 7: so upset about a song he didn't write. I'm like, wow,

667
00:39:29,640 --> 00:39:33,960
Speaker 7: he cares about the whole catalog, everything we're doing. And

668
00:39:34,000 --> 00:39:38,520
Speaker 7: you know I'm a little hard ass, but he's passed.

669
00:39:38,520 --> 00:39:42,239
Speaker 7: He's my ancestor, so I'm trying to stick to what

670
00:39:42,400 --> 00:39:46,040
Speaker 7: he wanted. But I mean, you know, I get hey,

671
00:39:46,280 --> 00:39:49,200
Speaker 7: you know, I get hip hoppers doing. I get it.

672
00:39:49,320 --> 00:39:54,080
Speaker 7: You know, it's just we're different. And it was back aways,

673
00:39:54,160 --> 00:39:56,560
Speaker 7: and I don't know, set.

674
00:39:56,600 --> 00:40:00,160
Speaker 3: In a modern context, if they might offer you a

675
00:40:00,160 --> 00:40:02,840
Speaker 3: lot more money now for something than you were offered

676
00:40:02,840 --> 00:40:06,040
Speaker 3: for the buick ad and it would be kind of

677
00:40:06,040 --> 00:40:07,520
Speaker 3: a no brainer to take the money.

678
00:40:07,640 --> 00:40:09,600
Speaker 2: I mean, and also too, to be fair, I think

679
00:40:09,680 --> 00:40:11,920
Speaker 2: now it may be. I think now you have people

680
00:40:11,960 --> 00:40:15,319
Speaker 2: in position who understand kind of the spirit of what

681
00:40:15,360 --> 00:40:17,000
Speaker 2: you guys are about, and would do it in a

682
00:40:17,120 --> 00:40:20,200
Speaker 2: very tasteful way as opposed to a cheesy way like

683
00:40:20,640 --> 00:40:22,640
Speaker 2: you know, like my view or whatever the hell you know.

684
00:40:22,719 --> 00:40:24,800
Speaker 2: I think now you know what I'm saying.

685
00:40:25,120 --> 00:40:30,200
Speaker 8: Actually, I would like to see someone set of going fire.

686
00:40:33,040 --> 00:40:36,279
Speaker 7: All right, let's see break on tudor a new deodorant.

687
00:40:36,600 --> 00:40:44,279
Speaker 8: No, right, But the thing is is that I think

688
00:40:44,320 --> 00:40:54,400
Speaker 8: the common denominator for the average creator is avoiding a rasure.

689
00:40:55,239 --> 00:40:58,360
Speaker 8: And yes, the music of the doors I feel is

690
00:40:59,760 --> 00:41:03,000
Speaker 8: you know that at least the ripple effect and the

691
00:41:03,000 --> 00:41:07,120
Speaker 8: resonance of it all. I have no doubt that the

692
00:41:07,200 --> 00:41:10,960
Speaker 8: songs you know, Writers of the Storm still stand. Every

693
00:41:11,000 --> 00:41:14,719
Speaker 8: time I play it people, you know, oh my god,

694
00:41:14,840 --> 00:41:17,080
Speaker 8: what is that? Like it's brand new or something, so

695
00:41:18,120 --> 00:41:24,360
Speaker 8: you know it's it's timeless. But does it ever do

696
00:41:24,400 --> 00:41:27,560
Speaker 8: you ever have thoughts that you know one day because

697
00:41:27,719 --> 00:41:30,880
Speaker 8: you know, I will say that when songs are placed

698
00:41:30,960 --> 00:41:34,359
Speaker 8: in and this is me as a DJ speaking, when

699
00:41:34,400 --> 00:41:37,960
Speaker 8: songs are placed in a movie or placed on a

700
00:41:38,000 --> 00:41:43,440
Speaker 8: television show or in a commercial, it just extends the

701
00:41:43,480 --> 00:41:46,960
Speaker 8: life of it just a little bit more. So I'm

702
00:41:47,000 --> 00:41:49,600
Speaker 8: one of those guys. And again, as a DJ who

703
00:41:50,000 --> 00:41:53,040
Speaker 8: mainly uses his DJ sets to educate people and stuff,

704
00:41:53,600 --> 00:41:56,880
Speaker 8: it kind of makes my job easier, even though I

705
00:41:56,880 --> 00:41:59,480
Speaker 8: have to you know, correct them, like, no, this isn't

706
00:42:00,239 --> 00:42:01,960
Speaker 8: just the song that you heard in the blah blah

707
00:42:01,960 --> 00:42:04,400
Speaker 8: blah movie, like this is where it comes from. But

708
00:42:04,880 --> 00:42:09,880
Speaker 8: do you ever have thoughts of like if you clutch

709
00:42:10,000 --> 00:42:15,160
Speaker 8: too tight to the pearls, that there's a possibility of erasure.

710
00:42:15,520 --> 00:42:17,120
Speaker 2: I know the Beastie Boys are going.

711
00:42:16,960 --> 00:42:20,920
Speaker 8: Through that right now, like they just recently kind of

712
00:42:22,120 --> 00:42:25,719
Speaker 8: loosen the reins a little bit to allow one of

713
00:42:25,760 --> 00:42:28,960
Speaker 8: their songs to get licensed for a commercial, even though

714
00:42:29,000 --> 00:42:29,760
Speaker 8: they took this.

715
00:42:30,360 --> 00:42:34,239
Speaker 2: Hard stance like we will never ever do that integrity.

716
00:42:35,160 --> 00:42:37,840
Speaker 7: Yeah, I gotcha. I mean, you know, Bob Dylan certainly

717
00:42:37,880 --> 00:42:38,760
Speaker 7: making me nervous.

718
00:42:39,960 --> 00:42:46,000
Speaker 10: Man. Yeah, he sold all his ship while right, yeah.

719
00:42:46,080 --> 00:42:47,640
Speaker 2: Take it with him, so you might as well just

720
00:42:47,840 --> 00:42:48,479
Speaker 2: you know what I'm saying.

721
00:42:48,760 --> 00:42:56,440
Speaker 7: Yeah, like, okay, So first of all, I don't we okay, movies,

722
00:42:56,800 --> 00:43:03,440
Speaker 7: TV shows. It's just a specific products selling, which makes

723
00:43:03,480 --> 00:43:07,759
Speaker 7: me twitch a little, I mean, like, and also we

724
00:43:08,280 --> 00:43:10,719
Speaker 7: are pretty established, and there's a lot of people who

725
00:43:10,760 --> 00:43:14,360
Speaker 7: say to us, oh, man, you know I was in Vietnam.

726
00:43:14,880 --> 00:43:18,120
Speaker 7: You guys helped me the first time I made love,

727
00:43:18,200 --> 00:43:21,080
Speaker 7: the first time I had a joint, whatever. And so

728
00:43:21,160 --> 00:43:24,000
Speaker 7: it's sort of like the soundtrack to people's lives, and

729
00:43:24,080 --> 00:43:28,440
Speaker 7: so I kind of well Vietnam. For example, recently, Robbie

730
00:43:28,440 --> 00:43:31,439
Speaker 7: told me, I didn't know this that the lyric loved

731
00:43:31,440 --> 00:43:34,480
Speaker 7: Me two times? He wrote, he goes love me two

732
00:43:34,520 --> 00:43:37,319
Speaker 7: times because I'm going away. He was thinking going away

733
00:43:37,360 --> 00:43:41,440
Speaker 7: to Vietnam. That's not in the lyric. And so how

734
00:43:41,440 --> 00:43:45,640
Speaker 7: about love me two times because I just took viagra.

735
00:43:49,200 --> 00:43:54,720
Speaker 3: It's true some commercials have seriously ruined certain songs forever,

736
00:43:55,440 --> 00:43:57,680
Speaker 3: you know, where they're known more for the commercial than

737
00:43:57,719 --> 00:43:59,640
Speaker 3: from the original album or from.

738
00:43:59,560 --> 00:44:05,360
Speaker 8: Yeah, hot Chocolate's use Sexy Thing is definitely ruined Viagra.

739
00:44:05,560 --> 00:44:06,680
Speaker 3: Yes, yeah, but.

740
00:44:07,160 --> 00:44:11,239
Speaker 7: You're you're right. You know, I'm going to be erased,

741
00:44:12,000 --> 00:44:15,120
Speaker 7: I don't know in the next twenty years or so anyway,

742
00:44:15,200 --> 00:44:16,319
Speaker 7: So I got to think about this.

743
00:44:18,520 --> 00:44:21,120
Speaker 3: No, stick to your guns. I've vote stick to your guns.

744
00:44:21,760 --> 00:44:24,279
Speaker 2: Yeah, stick to your guns how I want to.

745
00:44:24,320 --> 00:44:27,560
Speaker 10: I was on to know how accurate or what were

746
00:44:27,560 --> 00:44:30,960
Speaker 10: your thoughts on Oliver Stones filmed The Doors.

747
00:44:31,280 --> 00:44:32,920
Speaker 3: Yeah he was in it.

748
00:44:33,000 --> 00:44:36,759
Speaker 7: Yeah, no, no, yeah, I wasn't it for a second there, No,

749
00:44:36,920 --> 00:44:44,080
Speaker 7: I liked it now it was it was primarily about

750
00:44:44,120 --> 00:44:49,440
Speaker 7: a tortured artist, and Oliver, you know, kind of fits

751
00:44:49,480 --> 00:44:54,600
Speaker 7: that category. Brilliant and kind of out there, and uh,

752
00:44:54,840 --> 00:44:56,920
Speaker 7: I wished it had been a little more about the

753
00:44:56,960 --> 00:45:01,239
Speaker 7: sixties and then the climate of the time. Times. There

754
00:45:01,440 --> 00:45:07,279
Speaker 7: was a documentary called When You're Strange that Johnny Depp narrated,

755
00:45:07,400 --> 00:45:10,839
Speaker 7: and that has that has more of of that, and

756
00:45:10,920 --> 00:45:14,399
Speaker 7: I think the two of them together really represent our

757
00:45:14,440 --> 00:45:17,920
Speaker 7: whole career. But I gotta say, Val Kilmer man, he

758
00:45:18,000 --> 00:45:21,959
Speaker 7: gave me the creeps. I thought Jim was back ya gas.

759
00:45:22,000 --> 00:45:23,920
Speaker 5: He looked just like me, sounded just like it was.

760
00:45:24,080 --> 00:45:25,600
Speaker 5: I mean, I didn't know him like you did, but

761
00:45:25,760 --> 00:45:27,680
Speaker 5: it gave me the creeps watching him play that role.

762
00:45:29,000 --> 00:45:32,120
Speaker 7: These actors are amazing the way they transformed their bodies

763
00:45:32,160 --> 00:45:32,720
Speaker 7: and everything.

764
00:45:32,840 --> 00:45:35,520
Speaker 3: Yeah, yeah, I got a question.

765
00:45:35,680 --> 00:45:38,359
Speaker 9: Can we uh, can we talk about like drummers from

766
00:45:38,360 --> 00:45:41,480
Speaker 9: your era and and the the African influence, the Ginger

767
00:45:41,520 --> 00:45:44,520
Speaker 9: Bakers and the and like things like that. I feel

768
00:45:44,600 --> 00:45:47,719
Speaker 9: like like I got that bug when I was a kid,

769
00:45:47,719 --> 00:45:49,799
Speaker 9: but I was I'm not the same thing, but like,

770
00:45:50,840 --> 00:45:51,319
Speaker 9: was it the same?

771
00:45:51,440 --> 00:45:51,600
Speaker 6: Was it?

772
00:45:52,120 --> 00:45:54,440
Speaker 9: My experience was? It's like everything sort of began there.

773
00:45:54,480 --> 00:45:56,680
Speaker 9: So it made sense to figure out that ship and

774
00:45:56,680 --> 00:45:58,200
Speaker 9: how to bring it into your own thing, like what

775
00:45:58,280 --> 00:46:00,239
Speaker 9: was why did you get into it? And how did

776
00:46:00,239 --> 00:46:02,919
Speaker 9: you apply it to the doors or whatever?

777
00:46:02,920 --> 00:46:03,760
Speaker 2: Else? Are you doing.

778
00:46:04,280 --> 00:46:07,720
Speaker 7: Well with the African stuff? I primarily got into later,

779
00:46:08,360 --> 00:46:13,279
Speaker 7: but I will say that we were recording Hello, I

780
00:46:13,360 --> 00:46:18,120
Speaker 7: Love You and we're struggling with the arrangement, and Robbie

781
00:46:18,160 --> 00:46:21,239
Speaker 7: the guitar player, said, why don't you turn the beat

782
00:46:21,280 --> 00:46:25,319
Speaker 7: around like Ginger does in Sunshiny or love you know,

783
00:46:28,920 --> 00:46:37,239
Speaker 7: and so I go, okay, uh hello, I love you.

784
00:46:37,680 --> 00:46:44,440
Speaker 7: So I copped a couple of bars of ginger, and.

785
00:46:44,440 --> 00:46:47,000
Speaker 2: Here we are coping and ginger coping.

786
00:46:49,200 --> 00:46:53,000
Speaker 8: I was going to ask, the recording of that particular

787
00:46:53,080 --> 00:46:59,440
Speaker 8: song has such a distinctive like modern made for FM

788
00:46:59,520 --> 00:47:03,880
Speaker 8: radios sort of recording technique to it. Were you guys

789
00:47:04,680 --> 00:47:06,880
Speaker 8: aware of that as far as like, because there's a

790
00:47:06,960 --> 00:47:12,839
Speaker 8: clear difference sonically between the recording that particular album and

791
00:47:12,920 --> 00:47:13,799
Speaker 8: what came before it.

792
00:47:13,920 --> 00:47:15,440
Speaker 2: So, were you.

793
00:47:15,400 --> 00:47:20,080
Speaker 8: Guys aware of the sort of transforming of AM radio.

794
00:47:21,000 --> 00:47:22,440
Speaker 2: Am radio being the.

795
00:47:23,680 --> 00:47:26,000
Speaker 8: I guess the destination point of most music had been

796
00:47:26,120 --> 00:47:30,120
Speaker 8: slowly morphing into f M radio at the time, because

797
00:47:30,160 --> 00:47:35,800
Speaker 8: there's just such a clarity to it that sounds super modern,

798
00:47:35,920 --> 00:47:38,360
Speaker 8: Like even if you listen to it now, with the

799
00:47:38,640 --> 00:47:42,680
Speaker 8: synth work and even the way that your drums are

800
00:47:44,040 --> 00:47:49,160
Speaker 8: tuned on that song, like a.

801
00:47:47,200 --> 00:47:48,080
Speaker 2: A deeper sound.

802
00:47:48,680 --> 00:47:49,880
Speaker 7: Yeah, you're right about that.

803
00:47:50,400 --> 00:47:50,840
Speaker 2: It could have.

804
00:47:50,920 --> 00:47:54,560
Speaker 8: Like it's almost like the you hear the seeds of

805
00:47:54,560 --> 00:47:59,160
Speaker 8: what talking heads like Devo's second record, even Gary Numan's

806
00:47:59,160 --> 00:48:01,840
Speaker 8: like first record, you hear the seeds of that in there.

807
00:48:02,080 --> 00:48:05,480
Speaker 7: Well, you know, our first single was break on through

808
00:48:06,040 --> 00:48:09,440
Speaker 7: and it was too sophisticated. You know. It got to

809
00:48:09,560 --> 00:48:12,760
Speaker 7: number thirteen or something. That was due to us calling

810
00:48:12,880 --> 00:48:15,799
Speaker 7: up the station saying, hey, this is Fred Schwartz. Will

811
00:48:15,840 --> 00:48:19,600
Speaker 7: you play this and wait break going Through.

812
00:48:19,640 --> 00:48:22,360
Speaker 4: It was not a top ten hit, no.

813
00:48:22,280 --> 00:48:26,040
Speaker 7: But later it became just you know, everybody just as

814
00:48:26,120 --> 00:48:30,920
Speaker 7: crazy for it. So okay, yeah, Light my Fire was

815
00:48:31,200 --> 00:48:35,319
Speaker 7: six minutes, you know, we had that long jam and

816
00:48:35,360 --> 00:48:39,960
Speaker 7: then we cut it to three minutes, and then it

817
00:48:40,040 --> 00:48:43,240
Speaker 7: became a hit. But then FM radio started bragging about

818
00:48:43,239 --> 00:48:47,200
Speaker 7: playing the long version, which was really cool. So you know,

819
00:48:47,239 --> 00:48:50,040
Speaker 7: we had some hits. I guess people are strange. I

820
00:48:50,040 --> 00:48:53,360
Speaker 7: think was the next hit. And then in the studio

821
00:48:53,760 --> 00:48:57,480
Speaker 7: we were struggling and Paul Rothschild, our producer, pressed us

822
00:48:57,480 --> 00:49:00,400
Speaker 7: on hello, I love you. He said, Man, to make

823
00:49:00,440 --> 00:49:03,520
Speaker 7: this a hit. And fuzz tones that just came in

824
00:49:03,560 --> 00:49:06,719
Speaker 7: on guitar, you know, fuzzboxes.

825
00:49:05,960 --> 00:49:11,040
Speaker 6: And we just worked on that and worked on it,

826
00:49:11,480 --> 00:49:14,640
Speaker 6: and frankly, I thought it turned out a little too

827
00:49:15,360 --> 00:49:19,200
Speaker 6: poppy for me, but that's just for me personally.

828
00:49:19,560 --> 00:49:24,920
Speaker 7: But I always was just absolutely crazy for Jim's lyrics.

829
00:49:25,200 --> 00:49:25,879
Speaker 7: Oh my god.

830
00:49:26,920 --> 00:49:30,440
Speaker 3: Oh and what about Bruce Bonnik The engineer. What was

831
00:49:30,480 --> 00:49:32,720
Speaker 3: his special sauce? He did all your.

832
00:49:32,560 --> 00:49:36,239
Speaker 7: Albums, Yeah, he did all of them. And he he

833
00:49:36,320 --> 00:49:40,480
Speaker 7: worked at Sunset Sound and all the great studios as

834
00:49:40,480 --> 00:49:44,960
Speaker 7: a teenager with the Supremes and Phil Spector, and he knew,

835
00:49:45,080 --> 00:49:48,400
Speaker 7: he knew what he was doing. And each time, you know,

836
00:49:48,520 --> 00:49:52,879
Speaker 7: CDs streaming, whatever it is, he he keeps us up

837
00:49:52,920 --> 00:49:56,600
Speaker 7: to date sonically. You know, he's on it. Yeah, he's

838
00:49:56,640 --> 00:49:57,359
Speaker 7: the fifth door.

839
00:49:57,640 --> 00:50:07,719
Speaker 8: You know, I see there's you know, a lot has

840
00:50:07,760 --> 00:50:11,799
Speaker 8: been made. Most will say that, of course, you know,

841
00:50:11,840 --> 00:50:17,719
Speaker 8: when you when you think of historic concerts and events,

842
00:50:18,360 --> 00:50:22,800
Speaker 8: everyone of course makes a big deal of woodstock. However,

843
00:50:25,200 --> 00:50:28,520
Speaker 8: I feel like enough has not been made of enough.

844
00:50:29,239 --> 00:50:32,399
Speaker 8: The isle of right, I think is of right. ISLI

845
00:50:32,400 --> 00:50:36,880
Speaker 8: of Whight Festival that you guys did in nineteen seventy,

846
00:50:37,719 --> 00:50:39,759
Speaker 8: Do you have any particular memories of that, you know,

847
00:50:39,840 --> 00:50:44,280
Speaker 8: because the lineup was yeh to me just as crazy

848
00:50:44,520 --> 00:50:49,360
Speaker 8: that that year it was Hendrix, Joni Mitchell.

849
00:50:49,239 --> 00:50:50,279
Speaker 3: Who.

850
00:50:51,440 --> 00:50:58,840
Speaker 8: Moody Blues, Silent, the family Stone ten years after Chicago. Usually,

851
00:50:59,160 --> 00:51:01,440
Speaker 8: you know, I know that for a lot of artists,

852
00:51:01,480 --> 00:51:03,759
Speaker 8: this for a lot of fans, this is always a

853
00:51:03,800 --> 00:51:10,120
Speaker 8: disappointing question because you know, the the festivals are a spectator.

854
00:51:11,120 --> 00:51:13,200
Speaker 2: Thing, and usually artists are.

855
00:51:13,239 --> 00:51:16,600
Speaker 8: Just getting in doing the gig, leaving really not soaking

856
00:51:16,640 --> 00:51:20,080
Speaker 8: in the atmosphere. Were you able to really soak in

857
00:51:20,080 --> 00:51:21,839
Speaker 8: the festival at the time or was it just like

858
00:51:21,920 --> 00:51:23,879
Speaker 8: you showed up and did your thing and left.

859
00:51:24,440 --> 00:51:28,680
Speaker 7: Yeah. I took a hit off of Roger Daltrey's pepperminte

860
00:51:28,719 --> 00:51:30,120
Speaker 7: snaps bottle.

861
00:51:30,840 --> 00:51:37,360
Speaker 3: You know.

862
00:51:38,719 --> 00:51:41,000
Speaker 2: Oh yeah. First, I think.

863
00:51:42,680 --> 00:51:46,680
Speaker 7: The Isle of Wight. We were under a lot of

864
00:51:46,719 --> 00:51:51,359
Speaker 7: stress because Jim was on trial in Miami for supposedly

865
00:51:51,440 --> 00:51:56,200
Speaker 7: exposing himself, which he did not do, but he but

866
00:51:56,320 --> 00:51:59,240
Speaker 7: he was drunk, and he got real political and said

867
00:51:59,560 --> 00:52:02,000
Speaker 7: you're and then shove your faces in the ship of

868
00:52:02,040 --> 00:52:04,760
Speaker 7: the world, wake up. And that didn't go over well.

869
00:52:05,560 --> 00:52:11,520
Speaker 5: So that's crazy how he translated it today.

870
00:52:11,719 --> 00:52:15,480
Speaker 7: Well, I got the climate at the time was this

871
00:52:15,600 --> 00:52:20,600
Speaker 7: polarized country and and we were, you know, the hippies

872
00:52:20,680 --> 00:52:27,799
Speaker 7: and we were the dirty doors, and so Jim was targeted.

873
00:52:28,280 --> 00:52:30,840
Speaker 7: There was a rally for decency at the Orange Bowl.

874
00:52:30,960 --> 00:52:34,440
Speaker 7: Thirty thousand people showed up. Nixon sent a letter and

875
00:52:34,480 --> 00:52:38,880
Speaker 7: then Nita Bryant presided and it was because of us,

876
00:52:39,040 --> 00:52:43,759
Speaker 7: you know. Yeah, Well, back to the Isle of White,

877
00:52:44,120 --> 00:52:46,520
Speaker 7: the Isle of White, so so Jim was kind of

878
00:52:46,560 --> 00:52:50,319
Speaker 7: subdued in his performance. I was trying to make up

879
00:52:50,320 --> 00:52:54,799
Speaker 7: for it playing really strong, but it's pretty good. But

880
00:52:54,880 --> 00:52:58,960
Speaker 7: the whole festival had the feeling of the end of

881
00:52:59,280 --> 00:53:03,840
Speaker 7: the the end of Woodstock. There was some dispute about

882
00:53:03,960 --> 00:53:07,680
Speaker 7: the ticket prices and they busted down the fences and

883
00:53:07,760 --> 00:53:10,279
Speaker 7: people came in, which, you know, it was all right.

884
00:53:10,840 --> 00:53:13,080
Speaker 7: It was just kind of a chaotic festival. It had

885
00:53:13,160 --> 00:53:16,960
Speaker 7: incredible lineup, like you said, but it kind of didn't

886
00:53:16,960 --> 00:53:20,319
Speaker 7: get the attention because it was sort of the crumbling

887
00:53:20,400 --> 00:53:24,759
Speaker 7: of the outdoor hippie festivals being the ultimate you know.

888
00:53:24,960 --> 00:53:27,080
Speaker 5: And just for clarification for nobody people who don't know

889
00:53:27,120 --> 00:53:30,520
Speaker 5: the concert and the cituative venue, this is an island

890
00:53:30,600 --> 00:53:34,600
Speaker 5: right close to London where they exclusively have this big festival.

891
00:53:34,680 --> 00:53:37,280
Speaker 5: They've been doing this for like the last forty fifty years, right.

892
00:53:37,360 --> 00:53:38,359
Speaker 7: Yeah, correct, right.

893
00:53:38,360 --> 00:53:42,880
Speaker 3: Yeah, yeah yeah. Are you more of a touring person

894
00:53:42,960 --> 00:53:46,120
Speaker 3: or a studio studio person either one?

895
00:53:46,280 --> 00:53:50,160
Speaker 7: Either one. I mean at first I was frustrated. I

896
00:53:50,200 --> 00:53:53,960
Speaker 7: didn't understand it's kind of cool to muffle the drumheads

897
00:53:54,360 --> 00:53:55,120
Speaker 7: in the studio.

898
00:53:55,320 --> 00:53:55,520
Speaker 6: You know.

899
00:53:55,560 --> 00:54:00,960
Speaker 7: I thought you just play live and make a record, right,

900
00:54:02,120 --> 00:54:05,360
Speaker 7: and so it was a learning curve. I like both.

901
00:54:06,200 --> 00:54:07,520
Speaker 2: Where was your weapon of choice?

902
00:54:07,800 --> 00:54:11,120
Speaker 8: Uh in in the early part of your career, What

903
00:54:11,120 --> 00:54:12,480
Speaker 8: what drums were you using?

904
00:54:13,280 --> 00:54:17,120
Speaker 7: Oh? My first set was Gretch and then I Ludwick.

905
00:54:17,280 --> 00:54:21,680
Speaker 7: I went crazy for Ludwig and Ludwig silver snare drum

906
00:54:21,719 --> 00:54:28,040
Speaker 7: and yeah, I always kept kept a little kit. I

907
00:54:28,040 --> 00:54:31,359
Speaker 7: I had rivets in my symbol. I saw Oscar Peterson's

908
00:54:31,400 --> 00:54:34,160
Speaker 7: drummer ed thigpen. He had a lot of rivets, and

909
00:54:34,160 --> 00:54:37,040
Speaker 7: I went, oh, man, I'm that's good. You can hear

910
00:54:37,080 --> 00:54:39,960
Speaker 7: that on riders. There's kind of rivet sound in the right.

911
00:54:40,280 --> 00:54:40,959
Speaker 2: It rings forever.

912
00:54:41,400 --> 00:54:42,200
Speaker 7: Yeah, exactly.

913
00:54:42,800 --> 00:54:47,319
Speaker 8: Do you have you kept a majority of your drum

914
00:54:47,320 --> 00:54:49,960
Speaker 8: sets or like the sort of iconic.

915
00:54:51,400 --> 00:54:51,840
Speaker 2: Your career.

916
00:54:52,239 --> 00:54:55,040
Speaker 8: Yeah, I'll be taking them over, thank you.

917
00:54:55,120 --> 00:55:00,919
Speaker 7: Some not enough, damn it? Like like like the floor Tom. Uh,

918
00:55:01,040 --> 00:55:04,000
Speaker 7: it's the floor Tom that's barking back in the Hello

919
00:55:04,040 --> 00:55:07,040
Speaker 7: I Love you, but it a bow boom boom bum boom.

920
00:55:08,520 --> 00:55:12,320
Speaker 7: I like it when the heads are tired and rancid,

921
00:55:12,360 --> 00:55:13,960
Speaker 7: and then when they break, I have to get a

922
00:55:14,000 --> 00:55:16,560
Speaker 7: new one, and I hate it because I like the

923
00:55:16,600 --> 00:55:18,400
Speaker 7: personality of it talking back.

924
00:55:18,480 --> 00:55:22,080
Speaker 2: You know, I see you still have that time time.

925
00:55:22,280 --> 00:55:27,040
Speaker 8: No, oh, okay, that's what I was asking.

926
00:55:29,960 --> 00:55:34,840
Speaker 2: Ye collection, you have a collection too.

927
00:55:36,400 --> 00:55:38,160
Speaker 5: Is this a dumb drummer question? Y'all can tell me

928
00:55:38,200 --> 00:55:40,520
Speaker 5: if not, if it is or not. But my father's

929
00:55:40,520 --> 00:55:42,160
Speaker 5: a drummer. He always used to say that he likes

930
00:55:42,239 --> 00:55:45,279
Speaker 5: he prefers playing with brushes. Is that a thing where

931
00:55:45,320 --> 00:55:47,000
Speaker 5: you have a certain kind of stick that you prefer,

932
00:55:47,120 --> 00:55:50,560
Speaker 5: like mallet versus just regular stick versus brushes versus whatever

933
00:55:50,640 --> 00:55:52,640
Speaker 5: else is around these days? Because I haven't been checking

934
00:55:52,640 --> 00:55:53,160
Speaker 5: in the latest.

935
00:55:53,640 --> 00:55:54,479
Speaker 2: Not a dumb question.

936
00:55:54,880 --> 00:55:56,760
Speaker 7: No, that's a really good question.

937
00:55:57,960 --> 00:56:01,760
Speaker 2: You want don't play with brushes. That's a true statu

938
00:56:02,800 --> 00:56:04,279
Speaker 2: you know what, you know what, you know.

939
00:56:04,239 --> 00:56:06,520
Speaker 4: It's weird.

940
00:56:07,480 --> 00:56:12,640
Speaker 8: So when I was working on uh Welcome to Detroit

941
00:56:14,600 --> 00:56:18,640
Speaker 8: up in uh uh in Studio A where Dilla was,

942
00:56:20,080 --> 00:56:25,120
Speaker 8: he only played with mallets, And at the time I thought,

943
00:56:25,200 --> 00:56:25,720
Speaker 8: all right.

944
00:56:25,640 --> 00:56:26,160
Speaker 2: That's dumb.

945
00:56:26,239 --> 00:56:29,200
Speaker 8: Like not that's dumb, because by then anything he did

946
00:56:29,239 --> 00:56:34,680
Speaker 8: I declared like this, I'm sorry, it's it's my my my.

947
00:56:34,880 --> 00:56:38,160
Speaker 2: Elvin Jones is a producer from Detroit. His name is

948
00:56:38,400 --> 00:56:38,920
Speaker 2: Jay Diller.

949
00:56:39,160 --> 00:56:44,160
Speaker 7: Oh yeah, yeah, sure, yeah, I just can't. I just

950
00:56:44,200 --> 00:56:46,319
Speaker 7: can't hear at my age, you know, Okay.

951
00:56:46,040 --> 00:56:46,439
Speaker 2: I'm sorry.

952
00:56:46,520 --> 00:56:48,160
Speaker 4: Yeah.

953
00:56:48,320 --> 00:56:51,400
Speaker 8: J Diller is a actually to bring it back to

954
00:56:51,480 --> 00:56:55,560
Speaker 8: five to one the Okay, I won't say that I

955
00:56:56,719 --> 00:57:05,000
Speaker 8: know the original producer, but he would. I'd ask him like,

956
00:57:05,080 --> 00:57:11,040
Speaker 8: why are you using mallets instead of traditional traditional drumsticks?

957
00:57:11,120 --> 00:57:15,680
Speaker 8: And he just wanted a different texture than that of

958
00:57:15,719 --> 00:57:20,040
Speaker 8: what when sticks hit the skins? So I think at

959
00:57:20,040 --> 00:57:24,320
Speaker 8: the time I scoffed like that's whatever, and then I

960
00:57:24,320 --> 00:57:28,360
Speaker 8: caught myself doing it a lot, so I actually like

961
00:57:28,400 --> 00:57:29,080
Speaker 8: the texture of it.

962
00:57:29,120 --> 00:57:38,920
Speaker 7: I'm curious, what what size sticks do you use here?

963
00:57:38,960 --> 00:57:40,560
Speaker 2: It is I'm a seven eight guy.

964
00:57:40,800 --> 00:57:42,440
Speaker 7: Oh yeah.

965
00:57:42,680 --> 00:57:48,640
Speaker 8: However, however, my sticks are a little bit unusual because.

966
00:57:50,120 --> 00:57:52,800
Speaker 2: I learned through well Steve.

967
00:57:53,640 --> 00:57:57,760
Speaker 8: Steve is like one of my longtime music engineers, so

968
00:57:58,040 --> 00:58:01,120
Speaker 8: I had to I learned about twenty years ago that

969
00:58:01,280 --> 00:58:05,160
Speaker 8: the softer, at least for my purposes, the softer that

970
00:58:05,240 --> 00:58:10,040
Speaker 8: you play, the better the mixing options are. Because I

971
00:58:10,160 --> 00:58:12,160
Speaker 8: use a lot of old ribbon mics. So I used

972
00:58:12,200 --> 00:58:14,800
Speaker 8: to like power play, like in my mind, you think

973
00:58:14,840 --> 00:58:19,080
Speaker 8: like take like like Bonzo, like John Bonham from Zeppelin,

974
00:58:19,320 --> 00:58:21,760
Speaker 8: like you know, everyone thinks that they have to play

975
00:58:21,800 --> 00:58:25,760
Speaker 8: like Animal from the Muppets, and you know, and that

976
00:58:25,840 --> 00:58:29,000
Speaker 8: really destroys the sound because the compression and the microphones

977
00:58:29,040 --> 00:58:32,240
Speaker 8: like it just it just crutches. It's not good. So

978
00:58:32,400 --> 00:58:35,320
Speaker 8: I learned the softer you play, the better it is.

979
00:58:35,360 --> 00:58:38,200
Speaker 8: So I when I got my deal with Vic Firth,

980
00:58:38,280 --> 00:58:41,880
Speaker 8: I told them to make me seven eight drumsticks, but

981
00:58:41,960 --> 00:58:42,760
Speaker 8: I made.

982
00:58:42,560 --> 00:58:44,120
Speaker 2: Mine two inches longer.

983
00:58:44,360 --> 00:58:48,480
Speaker 8: Oh, so that way I could put my wrists on

984
00:58:48,520 --> 00:58:54,080
Speaker 8: my legs and not move my hands at all like

985
00:58:54,120 --> 00:58:57,360
Speaker 8: a traditional seven A you'd have to, like, you know,

986
00:58:57,480 --> 00:58:59,120
Speaker 8: most non drummers look at.

987
00:58:59,040 --> 00:59:01,720
Speaker 3: Uh, what is what of your arms at all?

988
00:59:02,600 --> 00:59:07,880
Speaker 2: Right? Yeah, move your.

989
00:59:07,880 --> 00:59:11,480
Speaker 8: Arms, yes, yes, like most most most non drummers would

990
00:59:11,520 --> 00:59:17,439
Speaker 8: look at uh uh what's the name of Foo Fighters. Yeah,

991
00:59:17,440 --> 00:59:19,360
Speaker 8: they'll look at David grol and like smells like teen

992
00:59:19,440 --> 00:59:22,200
Speaker 8: Spirit and think like that's how I should be German

993
00:59:22,360 --> 00:59:26,800
Speaker 8: like like modern Animal. And for me, I get the

994
00:59:26,840 --> 00:59:31,440
Speaker 8: best results when I when I do the least, just beautiful.

995
00:59:31,000 --> 00:59:31,600
Speaker 2: The quietest.

996
00:59:31,600 --> 00:59:36,080
Speaker 8: So yeah, drumsticks two inches longer so that I don't

997
00:59:36,120 --> 00:59:37,280
Speaker 8: have to move my arms at all.

998
00:59:38,440 --> 00:59:41,200
Speaker 7: That's what I was saying about, Uh, playing the right

999
00:59:41,760 --> 00:59:44,360
Speaker 7: beat in the right spot is as much power as

1000
00:59:44,400 --> 00:59:49,360
Speaker 7: all that animal ship. But you know what's so beautiful

1001
00:59:49,360 --> 00:59:52,840
Speaker 7: about your playing is what you sit. You know, you

1002
00:59:52,880 --> 00:59:57,360
Speaker 7: don't slump over the kit, and you see relaxed. You know,

1003
00:59:57,800 --> 00:59:58,680
Speaker 7: it's just beautiful.

1004
00:59:59,120 --> 01:00:00,280
Speaker 2: A little too relax time.

1005
01:00:02,480 --> 01:00:03,920
Speaker 5: You didn't answer that question for yourself.

1006
01:00:04,560 --> 01:00:09,000
Speaker 7: Yes, no, it's no seven A seven A. They're they're thin.

1007
01:00:09,760 --> 01:00:13,360
Speaker 7: They're thin sticks, so I can play faster, but they

1008
01:00:13,400 --> 01:00:15,800
Speaker 7: break all the time if you're playing a big concert,

1009
01:00:15,840 --> 01:00:17,920
Speaker 7: you know, so you know you just throw them in

1010
01:00:17,960 --> 01:00:19,240
Speaker 7: the audience and grab some more.

1011
01:00:19,360 --> 01:00:27,800
Speaker 8: You know, speaking of the audience, you think that's speaking Yeah,

1012
01:00:27,840 --> 01:00:30,800
Speaker 8: speaking of throwing them in the audience, what did this

1013
01:00:31,000 --> 01:00:35,880
Speaker 8: mean you to watch Keith Moon destroy a kit occasionally?

1014
01:00:36,920 --> 01:00:37,000
Speaker 7: Like?

1015
01:00:37,160 --> 01:00:38,320
Speaker 2: Is that blasphemous to you?

1016
01:00:39,040 --> 01:00:42,160
Speaker 7: It was over the top. I understood the anger because

1017
01:00:42,360 --> 01:00:45,720
Speaker 7: you know, we were pissed off about the establishment and

1018
01:00:45,760 --> 01:00:47,439
Speaker 7: everything's going on. I get it.

1019
01:00:48,000 --> 01:00:48,640
Speaker 3: Uh.

1020
01:00:48,680 --> 01:00:52,760
Speaker 7: He was bizarre. He was the most unusual drummer I've

1021
01:00:52,800 --> 01:00:55,680
Speaker 7: ever seen. I watched him on stage right at the

1022
01:00:55,680 --> 01:00:57,920
Speaker 7: isle of White, stood next to him. You know, he

1023
01:00:58,760 --> 01:01:02,680
Speaker 7: the way he hit the sticks, he's like conducting or something.

1024
01:01:02,680 --> 01:01:06,160
Speaker 7: I don't know what it is. Yeah, But speaking of brushes.

1025
01:01:07,800 --> 01:01:10,640
Speaker 7: This is what this is what I'm gonna accompany myself

1026
01:01:10,680 --> 01:01:11,320
Speaker 7: with on that.

1027
01:01:13,040 --> 01:01:22,320
Speaker 3: Yeah, what I would want to ask you is not

1028
01:01:22,320 --> 01:01:24,520
Speaker 3: not which Doors album is your favorite or not which

1029
01:01:24,520 --> 01:01:26,920
Speaker 3: one you think is the best, but which one do

1030
01:01:26,960 --> 01:01:30,040
Speaker 3: you think you're playing the best on? Oh, that's a

1031
01:01:30,040 --> 01:01:36,200
Speaker 3: good question, all of them. That's why you gotta start

1032
01:01:36,200 --> 01:01:40,480
Speaker 3: with your head, because you know, I'm just trying to

1033
01:01:40,480 --> 01:01:42,760
Speaker 3: make a point. I think, like the first Doors album

1034
01:01:42,840 --> 01:01:45,240
Speaker 3: was recorded in just a few days or a couple

1035
01:01:45,240 --> 01:01:48,400
Speaker 3: of weeks or something like that, and other albums later

1036
01:01:48,440 --> 01:01:51,640
Speaker 3: down the line probably took longer. And yeah, but you

1037
01:01:51,680 --> 01:01:54,000
Speaker 3: may think that you're playing on light my fire, is

1038
01:01:54,000 --> 01:01:56,040
Speaker 3: your is your absolute pinnacle or something?

1039
01:01:56,840 --> 01:02:00,680
Speaker 7: A good question, all right. So first album, we're trying

1040
01:02:00,720 --> 01:02:03,040
Speaker 7: to learn how to make records, you know, and we

1041
01:02:03,120 --> 01:02:07,280
Speaker 7: only did a few takes. But you know, it's second album,

1042
01:02:07,360 --> 01:02:10,280
Speaker 7: we're getting more relaxed in the studio, like using the

1043
01:02:10,320 --> 01:02:13,440
Speaker 7: studio as a as another door and fooling around with

1044
01:02:13,600 --> 01:02:18,479
Speaker 7: backward tracks and ship and having fun experimenting. But then

1045
01:02:18,680 --> 01:02:21,200
Speaker 7: you know, we have to make our own Sergeant Pepper,

1046
01:02:21,680 --> 01:02:27,920
Speaker 7: So we get to soft parade and put strings, strings

1047
01:02:27,920 --> 01:02:30,000
Speaker 7: and horns and all this ship and it was fun

1048
01:02:30,080 --> 01:02:35,680
Speaker 7: and people got angry with us changing our sound. Uh

1049
01:02:35,720 --> 01:02:43,040
Speaker 7: but touch Me was number one, then then Morrison Hotel

1050
01:02:43,200 --> 01:02:46,880
Speaker 7: and then finally La Woman. We get back to the

1051
01:02:46,920 --> 01:02:53,880
Speaker 7: garage and the blues and La Woman is I like

1052
01:02:53,960 --> 01:02:57,479
Speaker 7: it a lot. It's just a few takes. I said

1053
01:02:57,520 --> 01:03:02,720
Speaker 7: to Ray. You know, Miles live at Carnegie Hall. There

1054
01:03:02,760 --> 01:03:05,680
Speaker 7: was a terrible trumpet note at the beginning of So What,

1055
01:03:06,400 --> 01:03:09,520
Speaker 7: and the engineer said to Miles, I can fix that,

1056
01:03:09,560 --> 01:03:12,760
Speaker 7: and he said, no, it feels good. See there it is.

1057
01:03:12,960 --> 01:03:15,240
Speaker 7: That's the that's the key to La Woman. It's the

1058
01:03:15,240 --> 01:03:18,400
Speaker 7: first punk album. We're gonna fuck the mistakes. We're gonna

1059
01:03:18,440 --> 01:03:20,680
Speaker 7: go for it in a few takes, put as much

1060
01:03:20,720 --> 01:03:21,680
Speaker 7: passion as we can.

1061
01:03:22,920 --> 01:03:23,520
Speaker 2: See. There you go.

1062
01:03:23,560 --> 01:03:26,120
Speaker 3: It's like a jazz album. I mean, that's how a

1063
01:03:26,200 --> 01:03:27,320
Speaker 3: jazz album is recorded.

1064
01:03:28,800 --> 01:03:31,200
Speaker 2: Well you kind of pre answered. I was going to

1065
01:03:31,360 --> 01:03:31,840
Speaker 2: say that.

1066
01:03:33,680 --> 01:03:38,680
Speaker 8: With with the Soft Parade, was was there a pressure

1067
01:03:40,040 --> 01:03:46,120
Speaker 8: two suddenly deliver like the highest art? I mean based

1068
01:03:46,200 --> 01:03:52,160
Speaker 8: on the the the kind of atmosphere that brought upon

1069
01:03:52,440 --> 01:03:57,120
Speaker 8: like pet Sounds and Sergeant Peppers and even with their

1070
01:03:57,200 --> 01:04:01,800
Speaker 8: satanic Majesty's request and all that stuff. Well, I know,

1071
01:04:01,840 --> 01:04:04,439
Speaker 8: people laugh at that, but I feel like one day

1072
01:04:05,480 --> 01:04:11,240
Speaker 8: some generation is really going to hold No, I'm telling you,

1073
01:04:11,320 --> 01:04:20,439
Speaker 8: thanks for playing, though, I believe. I believe that there's

1074
01:04:20,480 --> 01:04:25,240
Speaker 8: going to be a Look. I'm a guy who love uh.

1075
01:04:25,400 --> 01:04:29,320
Speaker 8: I know, critics hated Black, Black and Blues by the Stones,

1076
01:04:29,680 --> 01:04:32,480
Speaker 8: and that's one of my favorite records. So I feel

1077
01:04:32,480 --> 01:04:35,760
Speaker 8: like somebody's going to find the wrong record and make

1078
01:04:35,800 --> 01:04:36,440
Speaker 8: it their record.

1079
01:04:36,520 --> 01:04:39,600
Speaker 2: But what I was asking was what the Salt Parade

1080
01:04:41,120 --> 01:04:41,720
Speaker 2: was that the.

1081
01:04:43,240 --> 01:04:46,200
Speaker 8: Intent to show that we're just as artistic and just

1082
01:04:46,320 --> 01:04:50,160
Speaker 8: as experimental as our contemporaries.

1083
01:04:50,640 --> 01:05:03,040
Speaker 7: Yeah, no, thank you. We Ray and I had talked

1084
01:05:03,080 --> 01:05:07,880
Speaker 7: about before recording the first album, man, someday if we

1085
01:05:07,920 --> 01:05:12,000
Speaker 7: could ever have some like horn solos, tenor sacks and

1086
01:05:12,080 --> 01:05:15,720
Speaker 7: you know, that'd be cool, some jazz stuff, and so

1087
01:05:15,840 --> 01:05:21,440
Speaker 7: we finally got to that by Soft Parade. Actually, I

1088
01:05:21,480 --> 01:05:25,280
Speaker 7: think Sergeant Pepper and pet Sounds they were out kind

1089
01:05:25,320 --> 01:05:29,840
Speaker 7: of around Strange Days our second album, and that's when

1090
01:05:29,880 --> 01:05:35,080
Speaker 7: we were like, wow, man, we who this is a challenge,

1091
01:05:35,160 --> 01:05:37,640
Speaker 7: you know, but but turn on too.

1092
01:05:37,880 --> 01:05:38,080
Speaker 6: You know.

1093
01:05:38,640 --> 01:05:41,560
Speaker 3: The thing about the Doors though, is like I never

1094
01:05:41,760 --> 01:05:45,480
Speaker 3: I never think about them in comparison to other bands

1095
01:05:45,480 --> 01:05:48,760
Speaker 3: because they have this their own world. You know, they

1096
01:05:48,800 --> 01:05:52,080
Speaker 3: created one of these few bands or artists that can

1097
01:05:52,120 --> 01:05:55,440
Speaker 3: create their own sonic universe, and you did. It's like

1098
01:05:55,560 --> 01:05:58,200
Speaker 3: pointless to compare them to to other bands.

1099
01:05:58,240 --> 01:06:02,400
Speaker 7: Almost well, keep keep talking. I feel helium rising.

1100
01:06:02,240 --> 01:06:02,440
Speaker 3: In my.

1101
01:06:04,160 --> 01:06:04,520
Speaker 2: Skill.

1102
01:06:04,800 --> 01:06:06,560
Speaker 3: It wasn't a compliment. I'm saying you're weird.

1103
01:06:10,480 --> 01:06:12,000
Speaker 7: Oh, you guys are amazing.

1104
01:06:13,640 --> 01:06:16,400
Speaker 2: You know, we try. Thank you.

1105
01:06:17,040 --> 01:06:20,360
Speaker 8: I do have to ask for our listeners and for

1106
01:06:20,440 --> 01:06:27,120
Speaker 8: myself as well, Like what was how long did it

1107
01:06:27,160 --> 01:06:32,680
Speaker 8: take you guys to come to grips after Marson's death

1108
01:06:32,840 --> 01:06:36,840
Speaker 8: on whether or not you should continue or not continue?

1109
01:06:37,600 --> 01:06:41,440
Speaker 8: And the creative direction? First of all, I mean, is

1110
01:06:42,080 --> 01:06:45,760
Speaker 8: the idea of a group really kind of an illusion

1111
01:06:45,800 --> 01:06:49,440
Speaker 8: that's not real? Like is it really everyone gets their

1112
01:06:49,480 --> 01:06:52,840
Speaker 8: equals say, and if one doesn't agree and it's not unanimous,

1113
01:06:52,880 --> 01:06:53,720
Speaker 8: then we don't do it.

1114
01:06:54,560 --> 01:06:55,720
Speaker 7: Well that's how we were.

1115
01:06:56,120 --> 01:06:59,280
Speaker 2: But okay, so absolutely everyone.

1116
01:07:00,000 --> 01:07:06,600
Speaker 7: Lot of groups have singer songwriters Lennon McCartney, Keith Richards

1117
01:07:06,680 --> 01:07:10,200
Speaker 7: and Mick and and they're kind of the dominant force,

1118
01:07:10,880 --> 01:07:14,680
Speaker 7: whereas Jim not being able to you know, how do

1119
01:07:14,720 --> 01:07:17,200
Speaker 7: we write songs? But I got all these words and

1120
01:07:17,280 --> 01:07:22,280
Speaker 7: melodies we were really more equal because of that, you.

1121
01:07:22,160 --> 01:07:25,040
Speaker 2: Know, you always translated almost.

1122
01:07:24,840 --> 01:07:26,400
Speaker 7: Yeah, beautiful, that's it.

1123
01:07:26,880 --> 01:07:27,360
Speaker 3: Yeah.

1124
01:07:28,320 --> 01:07:32,960
Speaker 8: So yeah, the as far as the meeting with you

1125
01:07:33,040 --> 01:07:37,040
Speaker 8: guys in what direction to take his work? Well yeah,

1126
01:07:37,080 --> 01:07:39,000
Speaker 8: I mean, can you just talk about that period of

1127
01:07:40,600 --> 01:07:41,880
Speaker 8: the decision to continue on?

1128
01:07:42,600 --> 01:07:44,720
Speaker 7: Oh yeah, that's good man. You don't let me off

1129
01:07:44,720 --> 01:07:48,640
Speaker 7: the hook, all right? No, no, no, it's good. Okay.

1130
01:07:48,720 --> 01:07:54,320
Speaker 7: So Jim dies and we're working on stuff, and we

1131
01:07:54,480 --> 01:08:02,160
Speaker 7: first entertained replacing him, and I said, excuse me, who's

1132
01:08:02,200 --> 01:08:05,640
Speaker 7: going to fill Jim's leather pants? You know, I mean

1133
01:08:06,240 --> 01:08:12,040
Speaker 7: that's a tall order. Uh So then Ray and Robbie

1134
01:08:12,920 --> 01:08:15,960
Speaker 7: tried to sing. We made two albums because we had

1135
01:08:16,120 --> 01:08:20,320
Speaker 7: this material and we were tight. And after those couple

1136
01:08:20,280 --> 01:08:23,560
Speaker 7: of albums, we realized, wait a minute, this is ridiculous.

1137
01:08:23,600 --> 01:08:26,600
Speaker 7: Our focal point is gone, and let's do you know,

1138
01:08:26,640 --> 01:08:29,400
Speaker 7: we wanted to do individual stuff, and so it naturally

1139
01:08:29,479 --> 01:08:33,960
Speaker 7: kind of fell away. We went our own ways. We

1140
01:08:34,040 --> 01:08:37,400
Speaker 7: came back later and we did a poetry album. It

1141
01:08:37,560 --> 01:08:41,080
Speaker 7: was pretty cool American prayer way out there Jim's words,

1142
01:08:41,160 --> 01:08:43,200
Speaker 7: you know, he had died, and we wrote all this

1143
01:08:43,360 --> 01:08:44,759
Speaker 7: music and that was fun.

1144
01:08:46,360 --> 01:08:48,200
Speaker 5: I wonder if you think that Queen pulled it off,

1145
01:08:48,439 --> 01:08:50,479
Speaker 5: since I was trying to think of another man who

1146
01:08:50,520 --> 01:08:53,600
Speaker 5: actually has done that with their lead singer who's passed, and.

1147
01:08:55,040 --> 01:08:58,840
Speaker 7: Yeah, pretty close. I don't know, uh.

1148
01:09:00,320 --> 01:09:07,720
Speaker 8: Uh for nostalgia's sake, I mean, you know Lambert.

1149
01:09:07,479 --> 01:09:16,920
Speaker 7: Is yeah, yeah, yes, huge. You know, like my second

1150
01:09:16,920 --> 01:09:20,760
Speaker 7: book was called The Doors Unhinged. It was about my

1151
01:09:20,840 --> 01:09:25,240
Speaker 7: struggle with Ray and Robbie playing and I love their playing,

1152
01:09:25,520 --> 01:09:30,200
Speaker 7: but they were going out as the Doors. Well wait,

1153
01:09:30,880 --> 01:09:34,680
Speaker 7: you know, Ian Askesberry from the Cult. It's fine, but

1154
01:09:34,680 --> 01:09:41,080
Speaker 7: but it's like the police without sting the come on,

1155
01:09:41,720 --> 01:09:44,759
Speaker 7: call it, call it founding members of the Doors or whatever.

1156
01:09:44,880 --> 01:09:45,080
Speaker 7: You know.

1157
01:09:45,200 --> 01:09:49,240
Speaker 2: But Maurice, well that's how it is.

1158
01:09:50,120 --> 01:09:54,839
Speaker 7: I know. Yeah, I mean I understand people want to

1159
01:09:54,880 --> 01:09:57,680
Speaker 7: hear and hear them play like and hear Queen and

1160
01:09:58,160 --> 01:09:58,960
Speaker 7: earth Wind and Fire.

1161
01:09:59,000 --> 01:10:01,320
Speaker 3: I get it, you know, I get yeah.

1162
01:10:01,439 --> 01:10:05,280
Speaker 8: So now, well before I wrap, I do want to

1163
01:10:05,320 --> 01:10:11,000
Speaker 8: know where we where we are today? Does it does

1164
01:10:11,040 --> 01:10:14,799
Speaker 8: it irk you a little bit that somehow not only

1165
01:10:14,800 --> 01:10:17,680
Speaker 8: do we wind back at square one, we're kind of

1166
01:10:18,600 --> 01:10:24,479
Speaker 8: way pre like damn near Neanderthal times that we took

1167
01:10:25,160 --> 01:10:28,880
Speaker 8: forty eight steps backwards, like just as just as a

1168
01:10:28,920 --> 01:10:33,040
Speaker 8: person who had ideas in the sixties to you know,

1169
01:10:33,680 --> 01:10:39,280
Speaker 8: to fight against this corrupt system and push us forward.

1170
01:10:39,240 --> 01:10:40,920
Speaker 2: Just to see us come back to.

1171
01:10:42,400 --> 01:10:44,599
Speaker 8: The place where we now have to struggle all over

1172
01:10:44,600 --> 01:10:46,040
Speaker 8: again like it was the sixties.

1173
01:10:46,080 --> 01:10:48,519
Speaker 2: Like does that this may you like? Was it? Like?

1174
01:10:48,800 --> 01:10:49,800
Speaker 2: Was your work for naught?

1175
01:10:51,080 --> 01:10:57,280
Speaker 3: Oh? Man, love you promised us? Bro's the peace and

1176
01:10:57,360 --> 01:10:57,720
Speaker 3: love you.

1177
01:10:59,160 --> 01:11:03,479
Speaker 7: Say? There it is? Oh my god, big questions, you know.

1178
01:11:04,600 --> 01:11:12,639
Speaker 7: I mean, uh, this country was founded on racism, and

1179
01:11:12,800 --> 01:11:16,080
Speaker 7: so you know, I got a piece of rolling stone

1180
01:11:16,360 --> 01:11:21,040
Speaker 7: asking Obama to pardon Leonard Peltier, native American who's been

1181
01:11:21,080 --> 01:11:24,240
Speaker 7: in jail frigging fifty years. You know, there was a

1182
01:11:24,280 --> 01:11:27,080
Speaker 7: shootout and FBI guy died and nobody knows who did it,

1183
01:11:27,120 --> 01:11:30,920
Speaker 7: but they had to nail somebody and whatever. So in

1184
01:11:30,960 --> 01:11:34,200
Speaker 7: that article, I also said, oh god, you know, it

1185
01:11:34,240 --> 01:11:38,760
Speaker 7: wouldn't be a bad thing if if we could apologize

1186
01:11:38,800 --> 01:11:42,240
Speaker 7: to the first people's the genocide, and then we can

1187
01:11:42,320 --> 01:11:45,439
Speaker 7: move on. And there's a that's how you go forward,

1188
01:11:45,520 --> 01:11:47,200
Speaker 7: admit ship you.

1189
01:11:47,120 --> 01:11:50,800
Speaker 2: Know, a long time admitting an apologize doesn't.

1190
01:11:50,520 --> 01:11:57,080
Speaker 7: Know, I know, but I guess I'm an eternal optimist.

1191
01:11:57,560 --> 01:12:01,559
Speaker 7: I mean, we got a gin orange out or any

1192
01:12:01,680 --> 01:12:02,719
Speaker 7: minute now, right.

1193
01:12:03,160 --> 01:12:06,639
Speaker 2: Yes, he's out.

1194
01:12:07,040 --> 01:12:08,520
Speaker 5: According to this recording.

1195
01:12:08,160 --> 01:12:08,519
Speaker 7: He's out.

1196
01:12:09,200 --> 01:12:09,519
Speaker 2: Yes.

1197
01:12:10,000 --> 01:12:10,160
Speaker 7: Now.

1198
01:12:10,160 --> 01:12:11,960
Speaker 2: We're just waiting to see what George is doing. We're

1199
01:12:11,920 --> 01:12:12,960
Speaker 2: just waiting on Georgia now.

1200
01:12:13,320 --> 01:12:15,640
Speaker 7: And you know, between you and me and and and

1201
01:12:15,720 --> 01:12:18,960
Speaker 7: your zillions of listeners, you know, Biden is.

1202
01:12:21,360 --> 01:12:21,960
Speaker 3: He's like me.

1203
01:12:22,200 --> 01:12:27,160
Speaker 7: He's another old white guy. But but he wish he

1204
01:12:27,360 --> 01:12:27,800
Speaker 7: like you though.

1205
01:12:27,840 --> 01:12:28,880
Speaker 5: We hope that he's like you.

1206
01:12:29,200 --> 01:12:32,439
Speaker 7: Well, hey, hey, you know what. Okay, here it is

1207
01:12:33,400 --> 01:12:37,920
Speaker 7: Hillary loses, and I go, God, damn it, I'm going

1208
01:12:37,960 --> 01:12:41,559
Speaker 7: to see a woman president before I die. And I'm

1209
01:12:41,640 --> 01:12:46,599
Speaker 7: up there and now I'm like, whoa wait a minute,

1210
01:12:47,560 --> 01:12:52,880
Speaker 7: I might see a black woman president. Yeah, and I

1211
01:12:53,479 --> 01:12:56,760
Speaker 7: you know, and she's I love her, but you know,

1212
01:12:56,920 --> 01:13:01,880
Speaker 7: I don't want to. I can't idealize her like Biden either.

1213
01:13:02,000 --> 01:13:05,280
Speaker 7: You know, she was a prosecutor. Holy oh my god,

1214
01:13:06,520 --> 01:13:11,960
Speaker 7: you know, John, she's a beautiful you know, she threw

1215
01:13:12,000 --> 01:13:15,960
Speaker 7: me in jail, but she's a beautiful woman. So it

1216
01:13:16,080 --> 01:13:20,519
Speaker 7: was our job, you know, I mean, but I still ah,

1217
01:13:21,960 --> 01:13:28,800
Speaker 7: we're just uh, it's slow, it's slow, but we're going forward. Here.

1218
01:13:28,840 --> 01:13:33,640
Speaker 7: It is Leonard Cohen. Democracy is coming to the U.

1219
01:13:33,880 --> 01:13:37,600
Speaker 7: S A it's not here. We're working on it, you know.

1220
01:13:38,560 --> 01:13:40,439
Speaker 7: So there it is.

1221
01:13:43,080 --> 01:13:43,320
Speaker 3: Poem.

1222
01:13:43,360 --> 01:13:45,559
Speaker 8: Yeah, I was I was going to say before before

1223
01:13:45,560 --> 01:13:47,680
Speaker 8: you close this out with this poem. That's also one

1224
01:13:47,720 --> 01:13:52,880
Speaker 8: of her reminder listeners that you're The Secrets is your

1225
01:13:52,880 --> 01:13:56,760
Speaker 8: third book, correct, correct? Okay, Yeah, The Secrets Meetings with

1226
01:13:57,840 --> 01:14:03,720
Speaker 8: Remarkable Musicians is available. Came out late twenty twenty and

1227
01:14:03,880 --> 01:14:10,000
Speaker 8: it's you exploring the creative process of modern artist.

1228
01:14:10,720 --> 01:14:11,440
Speaker 3: Yeah.

1229
01:14:11,560 --> 01:14:13,439
Speaker 8: Yeah, we want to thank you for doing this. So

1230
01:14:13,479 --> 01:14:18,840
Speaker 8: could you please bless us with this poem in closing?

1231
01:14:22,240 --> 01:14:25,800
Speaker 7: Okay, so, uh yeah, this goes out to Stacy Abrams

1232
01:14:25,960 --> 01:14:29,640
Speaker 7: and uh, I'm going to play it. I'm going to

1233
01:14:29,680 --> 01:14:34,240
Speaker 7: play my jazz brushes on my dunes on my doom back,

1234
01:14:34,320 --> 01:14:39,840
Speaker 7: which is crazy, but so what and what can I say?

1235
01:14:39,880 --> 01:14:43,120
Speaker 7: All Right? This is a poem by Ethridge Knight, African

1236
01:14:43,160 --> 01:14:47,240
Speaker 7: American poet who I think he won the National Book

1237
01:14:47,280 --> 01:14:52,599
Speaker 7: Award or was nominated and Gwendolyn Gwendolyn Brooks, Pulitzer poet,

1238
01:14:52,680 --> 01:14:57,840
Speaker 7: was his mentor. Yes, and so uh, Ethridge wrote this

1239
01:14:57,960 --> 01:15:01,080
Speaker 7: for his daughter when she he was fourteen. Now I'm

1240
01:15:01,080 --> 01:15:03,360
Speaker 7: going to move this mic down in the front of

1241
01:15:03,400 --> 01:15:08,599
Speaker 7: my face. So I won't drown out the vocal. We'll

1242
01:15:08,640 --> 01:15:31,840
Speaker 7: see if this works. It's called circling the daughter. You

1243
01:15:31,960 --> 01:15:37,000
Speaker 7: came to be in the month of Malcolm, and the

1244
01:15:37,120 --> 01:15:42,440
Speaker 7: rain fell with a fierce gentleness like a martyr's tears

1245
01:15:42,880 --> 01:15:46,400
Speaker 7: on the streets of Manhattan, when your light was lit

1246
01:15:48,520 --> 01:15:54,440
Speaker 7: and the city sang you welcome. Now I sit trembling

1247
01:15:54,520 --> 01:15:58,880
Speaker 7: in your presence. Fourteen years have brought the moon, blood,

1248
01:15:59,280 --> 01:16:05,200
Speaker 7: the roundness, the girl giggles, the grand leaps. We are touched,

1249
01:16:05,360 --> 01:16:09,360
Speaker 7: tender and our fears. You break my eyes with your

1250
01:16:09,400 --> 01:16:11,519
Speaker 7: beauty lit Baby, I love you.

1251
01:16:12,479 --> 01:16:18,439
Speaker 2: Okay. It is ladies and gentlemen with the brushes.

1252
01:16:19,760 --> 01:16:24,960
Speaker 8: That is the legend. John Dinsmore Orn brushes poetry. Yeah,

1253
01:16:25,479 --> 01:16:26,760
Speaker 8: Quest Supreme.

1254
01:16:27,680 --> 01:16:28,799
Speaker 2: Yo, man, I was watching.

1255
01:16:28,920 --> 01:16:31,040
Speaker 10: I was thinking they need to get John Dinsmore and

1256
01:16:31,240 --> 01:16:33,400
Speaker 10: cast you as Joe Biden on s n L.

1257
01:16:36,800 --> 01:16:38,960
Speaker 2: That's funny. I think.

1258
01:16:40,320 --> 01:16:41,760
Speaker 5: Jim Carrey can't do what you could do.

1259
01:16:43,160 --> 01:16:43,599
Speaker 2: There you go.

1260
01:16:43,640 --> 01:16:47,160
Speaker 7: You know, if this damn virus gets better, maybe next

1261
01:16:47,240 --> 01:16:49,439
Speaker 7: year my paper back will be out and I'll get

1262
01:16:49,439 --> 01:16:50,880
Speaker 7: to sit in with the roots again.

1263
01:16:51,240 --> 01:16:54,479
Speaker 8: So, ladies and gentlemen, this is quest Love Supreme. We

1264
01:16:54,600 --> 01:16:59,080
Speaker 8: like to think John Dinsmore for blessing us with this interview.

1265
01:16:59,200 --> 01:17:02,760
Speaker 8: Very informative the performance. You gotta bring the performance back.

1266
01:17:03,320 --> 01:17:07,679
Speaker 8: Go on behalf of Team Supreme. Mont takeolo on pay Bill.

1267
01:17:07,920 --> 01:17:11,240
Speaker 8: Sugar Steve and Laia, this is Quest Love. We will

1268
01:17:11,240 --> 01:17:12,240
Speaker 8: see you on the next Goren.

1269
01:17:12,560 --> 01:17:12,920
Speaker 2: Thank you.

1270
01:17:14,120 --> 01:17:15,400
Speaker 3: Hey, this is Sugar Steve.

1271
01:17:15,800 --> 01:17:16,880
Speaker 2: Make sure you keep up.

1272
01:17:16,760 --> 01:17:20,320
Speaker 3: With us on Instagram at QLs and let us know

1273
01:17:20,360 --> 01:17:22,679
Speaker 3: what you think and who should be next to sit

1274
01:17:22,720 --> 01:17:27,920
Speaker 3: down with us. Don't forget to subscribe to our podcast.

1275
01:17:30,960 --> 01:17:36,680
Speaker 1: Much Love Supreme is a production of iHeartRadio. For more

1276
01:17:36,720 --> 01:17:40,760
Speaker 1: podcasts from iHeart Radio, visit the iHeartRadio app, Apple Podcasts,

1277
01:17:41,160 --> 01:17:43,240
Speaker 1: or wherever you listen to your favorite shows.