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The Doors at 60: Surviving members and famous fans break down the greatness of iconic L.A. band

BBG News

As a movie buff and music enthusiast, I can’t help but share my thoughts on a recent choice made by Flea, the bassist from Red Hot Chili Peppers. He selected punk rock icons X as his pick for the greatest L.A. band, and it seems that choice is just as natural for their lead singer, Exene Cervenka. For her, this decision revolves around the iconic Hollywood experience – the Walk of Fame, Lana Turner, and the glamour that comes with it. The Doors, in her mind, are an integral part of that magical tapestry, deeply woven into the very essence of Los Angeles.

As a cinema enthusiast, I’d rephrase it like this: The Beach Boys may have claimed the sand and sea, but it was the Doors who shaped L.A.’s vibrant nightlife, Sunset Strip, avant-garde scene, and alternative world. Their influence ignited the global music scene six decades ago, when Jim Morrison, Ray Manzarek, Robby Krieger, and John Densmore set the world ablaze.

For six years, spanning five albums, the Doors – who tragically lost Morrison in Paris at just 27 in 1971 – forged a legacy deeply rooted in L.A.’s history that has spread from Venice, their birthplace, across the globe, repeatedly. The mystique and fame of the Doors continues to expand.

To celebrate this significant anniversary, we engaged in discussions with surviving members Densmore and Krieger, along with Carlos Santana, Bootsy Collins, Cervenka, Chuck D (Public Enemy), L.A. jazz artist José James, British legend Robyn Hitchcock, and paleontologist Kenneth Lacovara of the Edelman Fossil Park & Museum in New Jersey – all reflecting on six decades of The Doors’ history.

Doors members:

John Densmore: For me, the songs carry deeper meanings. I’m still trying to decipher Jim’s lyrics. I’ve always admired his lyrics and knew they were profound, but occasionally, I come across a hidden gem that leaves me astonished. “No eternal reward will forgive us now for wasting the dawn.” What a powerful statement! The songs are not just creations of the past, but ongoing ones. We must remember this in the face of all the darkness around us, as creation is continuous and eternal.

Jim’s music has often served as a refuge and source of healing. Not explicitly, but the song “Unknown Soldier” was penned during the tumultuous Vietnam era, and its message is unmistakably critical of war in general.

I had planned to pay the rent for a decade, but it’s been six decades or so. I appreciate compliments, but what really gets me going is my jazz project. I even did an album with Chuck D, and it’s going to be alternative hip-hop. That’s on the horizon, and I also have a poetry album. I’m not writing poetry myself, but I enjoy reading it, as well as playing hand drums and delving into works by Jim and other poets. This is what truly excites me, and my project won’t sound like “Light My Fire.” I’m fine with that because the song was number one for 26 weeks. What do you do after that? That song has cast a long shadow ever since.

Listening to folks share their first intimate moments or drug experiences, or how they survived the jungles of Vietnam with our support, musically speaking, really warms my heart. I’m genuinely moved by these stories.

Robby Krieger: It’s astounding that we managed to get airplay initially, let alone perform at venues such as The Whisky. And here we are, sixty years later – I can hardly believe it!

I’ve been playing these songs for an eternity, and around 20 years ago, my music selection was mostly jazz and similar genres. I had moved past the Doors at that time, not because I disliked them, but because I believed their era had ended with Jim’s passing. We attempted to continue without him for three or four years, and surprisingly, we managed quite well. We even played at Carnegie Hall, just the three of us – me, John, and Ray. It was an incredible experience. However, after Jim left, my remaining band members and I couldn’t seem to get along with each other anymore. The connection we once shared was shattered.

When the Oliver Stone film was released, it sparked renewed curiosity about The Doors. Consequently, we received numerous requests for us to perform their songs once more.

In my experience, we rarely shared the stage with Jim due to an event in Miami that led to a restriction on our performances. This was because of something called the Hall Managers Association who refused to let us perform the songs because they were apprehensive about the potential consequences. As a result, we found ourselves focusing more on recording new music rather than playing live. We ended up with an impressive collection of unreleased tracks, which remained untouched.

Recently, at the Whisky, we’ve been playing through our albums in sequence, starting with the first one last week. After taking a break, we returned to perform other songs. Revisiting The Doors’ music sparked an idea: why not try performing a song we had never played together before? With so many options available and the excitement of learning something completely new, it felt fresh and invigorating.

Panelists:

Carlos Santana: Indeed, [I witnessed them] at the Fillmore. I was utterly captivated. I wasn’t expecting it as The Doors pioneered this style of rock performance before Alice Cooper or anyone else. The initial words spoken by Jim Morrison were, “Before we play any song, I want you to turn off all the lights, turn them off.” So, they extinguished all the lights. All that remained visible was the exit sign. At that moment, I exclaimed, “Wow, this is intense!” They immersed themselves in the theater of it. He began singing, “When the music’s over.” I found myself spellbound by The Doors.

In San Francisco, there was a radio competition pitting The Doors against The Rolling Stones. They performed “Light My Fire” followed by “Satisfaction.” The audience voted, and the Doors emerged victorious with an overwhelming response. Essentially, the Bay Area declared, “While we admire the Rolling Stones, the Doors’ ‘Light My Fire’ is unbeatable. Game over.” Both tracks were amazing, but that’s how influential The Doors were – they outshone even the Rolling Stones. It seems that when you compare Steven Tyler from Aerosmith and Mick Jagger, it’s evident they were inspired by Jim Morrison because he was a true rock star before the term “rock star” was coined. His stage presence was reminiscent of only a few, including Jimi Hendrix, who also exuded that aura of a rock star.

I was fortunate enough to be young during the golden age of The Doors. Specifically, I was between ages 7 and 11 during that time.

In my perspective, each member stood out distinctly, yet they harmoniously blended as a united force. I believe that every individual component was exceptional in their own right. And when combined, they created an impact that resonated profoundly with me. Unfortunately, I never had the opportunity to meet Manzarek personally, but from what I gathered through the documentary, he came across as a charismatic figure.

Exene Cervenka expresses that the music of The Doors is timeless, consistently accessible whenever one needs it. If you truly need to hear “Strange Days,” then it’s exactly what you need, and it will always be there for you. She appreciates this quality. The unique aspect about The Doors is that their music demands your full attention when played on a turntable, inviting you to sit down and listen attentively. Unlike casual encounters with music at the gym or elsewhere, listening to The Doors is an intentional experience: “Pop in ‘Strange Days’ and immerse yourself.” She finds it remarkable that they were such a great orchestral band, with intricate arrangements and profound thoughts behind every composition.

I’d like to share my personal encounter with The Doors. When I was around 11 or 12 years old, “Light My Fire” played on the radio in a tiny town in Illinois, deep in the countryside. It was an amazing song, but being young and living in such a secluded place, it felt surreal.

One day, while listening to the radio during wintertime, I heard The Doors again, this time playing their extended version of the song. As a 12-year-old, I sat there captivated as the music transitioned into an incredible musical passage that left a lasting impression on me. It was during my early stages of puberty, in a Catholic school setting in the ’60s. That brief five minutes with Jim Morrison and The Doors’ music fundamentally altered my life forever.

Robyn Hitchcock: I continue to hold the same deep affection for the songs, performances, and Jim Morrison that I felt when I first heard them in 1968. I listen with the emotional sensitivity of a 15-year-old still. As a seasoned musician, I acknowledge their technical prowess, especially the unique landscape created by Ray Manzarek, but I believe the entire group – much like Led Zeppelin – was exceptionally lean and efficient, with each member contributing in vital ways. However, for me, it’s Jim Morrison who remains the central figure.

Kenneth Lacovara shares an interesting anecdote: During my fieldwork, I spent five winters in the most southern part of Patagonia, digging up a massive dinosaur that I eventually named Dreadnoughtus. Excavating was tough work, as we were around 100 kilometers away from any grid. I lived next to this animal for over a year in a tent. To pass the time, I played music on my iPod through the pickup truck speakers, with The Doors being one of our favorite bands. I hired two gauchos, or South American cowboys, to help us. They used their horses to pull dinosaur bones out of the desert. Their preferred song was “Riders on the Storm.” Whenever they asked for it, we played it. Thus, “Riders on the Storm” became the theme song for the Dreadnought excavation. Now, whenever I hear that song, it reminds me of Patagonia.

José James’s Thoughts: Fundamentally, they are a band, which gives their music timeless appeal. They’re exceptionally skilled musicians who played superbly together. As a musician listening now, I appreciate the loose, improvisational feel of the band, particularly the interaction, or ‘interplay.’ You can hear jazz influences in Densmore’s drumming, with its rock-like rhythm but also that subtle jazz touch from his training and exposure to jazz. The band’s dynamics are truly captivating. They took a song on a fascinating journey, which I find is a quintessential jazz concept. Although they could crank up the volume and rock hard, they were equally adept at softening their sound and exploring intricate nuances – something quite rare in that genre. Musically, they were significantly ahead of their time.

Bootsy Collins: The stuff doesn’t sound ingrained in the time. It still sounds like today.

The mix of the tunes they chose and their diverse musical backdrop significantly influenced the overall tone and flow of the performance. They possessed an intuitive harmony that allowed them to complement each other effectively, whether intentionally or instinctively.

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2025-05-15 00:31

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