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Country=USA 1h 7min Documentary. So what was the story with his black eye, as seen on t.v. This is superb, thanks. <3 love this guy. I wish people would talk like this today. He's right, numbers mean nothing; but I seem to be surrounded by a world that only thinks and sees numbers, percentages, numbing, mindless, shit. What happened to the 60s, man. The doors 3a break on thru- a celebration of ray manzarek lyrics.

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Jim was sentence to do time in jail, maybe he staged his death. The doors 3a break on thru- a celebration of ray manzarek pdf. The doors 3a break on thru- a celebration of ray manzarek new. The doors revival. Celebrate some of rocks biggest legends with The Doors: Break on Thru – A Celebration of Ray Manzarek, a documentary/concert film hybrid from Trafalgar Releasing. Filmed at the Fonda Theatre in Los Angeles in 2016, the concert brought surviving Doors members Robby Krieger and John Densmore together on stage for the first time in 15 years. Along with such guests as Taylor Hawkins of the Foo Fighters, Robert DeLeo of Stone Temple Pilots, and Ozzy Osbourne, they played in honor of their late bandmate Ray Manzarek, who passed away in 2013. To supplement the performances, the film also includes rare behind the scenes footage as well as new and archival interviews. Playing for two nights only, this theatrical presentation will premiere on what would have been Manzareks 81st birthday.

Yesssss. The doors 3a break on thru- a celebration of ray manzarek songs. They Best performance of the Doors. Long live the get recognition today. The Doors: Break on Thru - A Celebration of ray manzarek. I can imagine Jim and Ray sitting on these huge speakers behind them and watching this with great smile on their faces. In bs as argentina this called cebado, like the mambo de morrison. Oh and Ray,sorry I didn't quite out grow you,how big was that un. A Celebration of Ray Manzarek February 12, 2020 7:00 PM - 9:00 PM THE DOORS: BREAK ON THRU – A CELEBRATION OF RAY MANZAREK is a hybrid live concert and documentary capturing a 2016 tribute performance in Los Angeles, CA by surviving Doors members John Densmore and Robby Krieger to honor fellow Doors member Ray Manzarek on what would have been his birthday. The setlist consists of Doors songs performed by John and Robby along side a cast of all-star guest musicians including various members of the Foo Fighters,  X, Stone Temple Pilots, Janes Addiction, Paul McCartneys Band, Govt Mule and more. The film also includes rare archival footage of the band, conversations with Jim Morrison and Ray Manzarek, and esteemed music journalist Ben Fong-Torres, as well as new interviews with John and Robby.

The doors jim morrison. The doors 3a break on thru- a celebration of ray manzarek remix. At this point, the music world really didnt know what had just entered the room. the doors were still very green & lean here, but you could sense morrison pacing & getting ready to mount & bring havoc, even here. compare this for ex w/ ed sullivan. its only 3 months are so apart, yet by sullivan morrison had put on about 10 lbs of muscle & had his feet and stance firmly in place as THE most dangerous & talented lead in rock. sadly, he would only get about a year and 1/2 run on the top. but like mike tyson what a short sweet run it was.

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Ray's a great speaker. So, Ray. Tell us about the last time you saw Jom. Ray - 12 seamless minutes, no prompts, no pauses, no mmmm or uuhhhh. Excellent. Very sharp mind. RIP Ray (and Jim, of course. Best lyrics writer ever, with the best voice ever. never be another one like you, Jim. WHY IS ROBBY PLAYING WITH A PICK. Released 1 hr 7 min Documentary Music/Performing Arts Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing Break On Thru: A Celebration of Ray Manzarek and The Doors near you. ENTER CITY, STATE OR ZIP CODE GO Fandango FANALERT Sign up for a FANALERT and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more.

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The doors 3a break on thru- a celebration of ray manzarek canvas. Damn it's like he is re-living the memory when they made the song. Just imagining that the band is there. H eres a deeply uncool, almost embarrassingly un-rocknroll Doors documentary; its unlikely to get toes a-tapping let alone light a fire. Its essentially a filmed gig, reuniting the two surviving Doors, guitarist Robby Krieger and drummer John Densmore, on stage with assorted members of Foo Fighters, Janes Addiction, Stone Temple Pilots and more filling in for Jim Morrison and keyboardist Ray Manzarek. The hits comes thick and fast, tightly arranged and slickly performed, but this lineup of well-preserved mostly male musicians gives the show the bland atmosphere of a celebrity tribute band. The gig is dedicated to Manzarek, who died in 2013, and director Justin Kreutzmann pads out the gig footage with an interview the keyboardist gave and fresh input from Krieger and Densmore. The pair genially repeat anecdotes for the 1, 000th time: how they met Manzarek at a transcendental meditation course and how they were initially underwhelmed by Morrison, then an insecure, shy kid. Still, some of the stories deserve repeating, such as the one about the time Morrison dropped acid before going on stage at the Hollywood Bowl, and spent the first few minutes picking at the AstroTurf. In archive footage, the sound on mute, we see him later at that same gig, whirling and howling, beautiful and unhinged. That energy is not matched at the tribute gig, though guest singer Andrew Watt, with a preening performance of LA Woman, does a fair imitation of Morrisons messiah complex, if not his appeal. Speaking to camera, Densmore glosses over his longrunning feud with Krieger over touring as the Doors without Morrison. At the time he is on record as saying: “It cant be the Doors without Jim. It could be the Windows, the Hinges, I dont care, as long as its not the Doors. ” Watching this film, you might agree. • The Doors Break on Thru: A Celebration of Ray Manzarek is released in the UK on 7 February and in Australia on 12 February.

If there is somebody for singing this Song like Jim Morrison is Eddie Vedder. Brings tears to my Eyes. Ray Manzarek Manzarek performing in 2006 Born Raymond Daniel Manczarek Jr. February 12, 1939 Chicago, Illinois, U. S. Died May 20, 2013 (aged 74) Rosenheim, Germany Occupation Musician, songwriter, filmmaker Years active 1959–2013 Spouse(s) Dorothy Aiko Fujikawa ( m. Children 1 Musical career Genres Psychedelic rock, acid rock, blues rock, hard rock, blues, jazz fusion, funk, rock and roll, electronic music, punk rock Instruments Keyboards, Vocals Labels Elektra Associated acts The Doors Manzarek–Krieger Rick & the Ravens Nite City The Manzarek–Rogers Band Skrillex X Website The Official Site of Ray Manzarek Raymond Daniel Manzarek Jr. (né Manczarek; February 12, 1939 – May 20, 2013) was an American musician, singer, producer, film director, and author, best known as a member of The Doors from 1965 to 1973, which he co-founded with singer and lyricist Jim Morrison. Manzarek was notable for performing on a keyboard bass during many live shows and some recordings, taking on a role usually filled by a bass guitar player. Manzarek recorded on every track of all eight Doors studio albums, and was inducted into the Rock and Roll Hall of Fame in 1993. He was a co-founding member of Nite City from 1977 to 1978, and of Manzarek–Krieger from 2001 until his death in 2013. USA Today defined him as "one of the best keyboardists ever. " Biography [ edit] Early life [ edit] Raymond Daniel Manczarek Jr. was born and raised on the South Side of Chicago, Illinois. He was born to Helena and Raymond Manczarek Sr., and was of Polish descent. [1] 2] Growing up, he took private piano lessons from Bruno Michelotti and others. He originally wanted to play basketball, but he wanted to play only power forward or center. When he was sixteen his coach insisted either he play guard or not at all and he quit the team. Manzarek said later if it was not for that ultimatum, he might never have been with The Doors. He went to Everett Elementary School on South Bell Street and attended St. Rita of Cascia High School. [3] In 1956, he matriculated at DePaul University, where he played piano in his fraternity's jazz band (the Beta Pi Mu Combo) participated in intramural football, served as treasurer of the Speech Club, and organized a charity concert with Sonny Rollins and Dave Brubeck. He graduated from the University's College of Commerce with a degree in economics in 1960. [4] In the fall of 1961, Manzarek briefly enrolled at the University of California, Los Angeles School of Law. Unable to acclimate to the curriculum, he transferred to the Department of Motion Pictures, Television and Radio as a graduate student before dropping out altogether after breaking up with a girlfriend. [5] Although he attempted to enlist in the Army Signal Corps as a camera operator on a drunken lark during a visit to New York City, he was instead assigned to the highly selective Army Security Agency as a prospective intelligence analyst in Okinawa and then Laos. While in the Army, Manzarek played in various musical ensembles and first smoked and grew cannabis. However, because he wanted to eventually visit Poland, he refused to sign the requisite security clearance and was discharged as a private first class after several months of undesignated duty. According to Britt Leach, a fellow Army Security Agency enlistee, Manzarek "had collected an entire duffel bag" of cannabis specimens during his service in Laos; this may have been used to fund his subsequent graduate education. [6] The Doors [ edit] Following his return to the United States, he re-enrolled in UCLA's graduate film program in 1962, where he received a M. F. A. in cinematography in 1965. [7] 8] During this period, he met future wife Dorothy Fujikawa and undergraduate film student Jim Morrison. At the time, Manzarek was in a band called Rick & the Ravens with his brothers Rick and Jim. [9] Forty days after finishing film school, thinking they had gone their separate ways, Manzarek and Morrison met by chance on Venice Beach in California. Morrison said he had written some songs, and Manzarek expressed an interest in hearing them, whereupon Morrison sang rough versions of " Moonlight Drive. My Eyes Have Seen You" and " Summer's Almost Gone. Manzarek liked the songs and co-founded The Doors with Morrison at that moment. During this period, Manzarek met guitarist Robby Krieger and drummer John Densmore at a Transcendental Meditation lecture and recruited them for the incipient band. Densmore said, There wouldn't be any Doors without Maharishi. 10] From left to right, Densmore, Krieger, Manzarek and Morrison in a publicity photo from 1966 In January 1966, The Doors became the house band at the London Fog on the Sunset Strip. According to Manzarek, Nobody ever came in the occasional sailor or two on leave, a few drunks. All in all it was a very depressing experience, but it gave us time to really get the music together. The same day The Doors were fired from the London Fog, they were hired to be the house band of the Whisky a Go Go. [11] The Doors' first recording contract was with Columbia Records. After a few months of inactivity, they learned they were on Columbia's drop list. At that point, they asked to be released from their contract. Following a few months of live gigs, Jac Holzman "rediscovered" The Doors and signed them to Elektra Records. The Doors lacked a bass guitarist (except during recording sessions) so at live performances Manzarek played the bass parts on a Fender Rhodes Piano Bass. His signature sound was that of the Vox Continental combo organ, an instrument used by many other psychedelic rock bands of the era. He later used a Gibson G-101 Kalamazoo combo organ (which looks like a Farfisa) because the Continental's plastic keys frequently broke. During the Morrison era, Manzarek was the group's regular backing vocalist. He occasionally sang lead, as exemplified by covers of Muddy Waters 's "Close To You" released on 1970s Absolutely Live) and "You Need Meat (Don't Go No Further. recorded during the L. Woman sessions and initially released as the B-side of " Love Her Madly. He went on to share lead vocals with Krieger on the albums ( Other Voices and Full Circle) released after Morrison's death. Later career and influence [ edit] After recording two solo albums on Mercury Records to a muted reception in 1974, Manzarek played in several groups, most notably Nite City. [11] He recorded a rock adaptation of Carl Orff 's Carmina Burana (1983; co-produced by Philip Glass) briefly played with Iggy Pop, sat in on one track on the eponymous 1987 album Echo & the Bunnymen, backed San Francisco poet Michael McClure 's poetry readings and worked on improvisational compositions with poet Michael C. Ford. [12] He also worked extensively with Hearts of Fire screenwriter and former SRC front man Scott Richardson [13] on a series of spoken word and blues recordings entitled "Tornado Souvenirs. Manzarek produced the first four albums of the seminal punk band X, 14] also contributing occasionally on keyboards. [15] His memoir, Light My Fire: My Life with The Doors, was published in 1998. The Poet in Exile (2001) is a novel exploring the urban legend that Jim Morrison may have faked his death. Manzarek's second novel, Snake Moon, released in April 2006, is a Civil War ghost story. In 2000, a collaboration poetry album entitled Freshly Dug was released with British singer, poet, actor and pioneer Punk rocker Darryl Read. Read had previously worked with Manzarek on the Beat Existentialist album in 1994, and their last poetical and musical collaboration was in 2007 with the album Bleeding Paradise. Manzarek at the Bospop festival, Weert 2010, the Netherlands Also in 2000, he co-wrote and directed the film Love Her Madly, 16] which was credited to a story idea by Jim Morrison. [17] The film was shown at the closing night of the 2004 Santa Cruz Film Festival, 18] but otherwise received limited distribution and critical review. In 2006, he collaborated with composer and trumpeter Bal. The album that resulted, Atonal Head, is an exploration in the realm of electronica. The two musicians integrated jazz, rock, ethnic and classical music into their computer-based creations. On August 4, 2007, Manzarek hosted a program on BBC Radio 2 about the 40th anniversary of the recording of " Light My Fire " and the group's musical and spiritual influences. In April 2009, Manzarek and Robby Krieger appeared as special guests for Daryl Hall 's monthly concert webcast Live From Daryl's House. They performed several Doors tunes. People Are Strange. The Crystal Ship. Roadhouse Blues " and " Break on Through (To the Other Side. with Hall providing lead vocals. In his last years he often sat in with local bands in the Napa County, California area, where he relocated in the early 2000s. [19] In 2009, Manzarek collaborated with "Weird Al" Yankovic, by playing keyboards on the single " Craigslist. which is a pastiche of The Doors. [20] On the day of Manzarek's death, Yankovic published a personal video of this studio session which he said had been an "extreme honor" and "one of the absolute high points of my life. 21] Manzarek was a co-producer on a few tracks for Universal Recording artist Michael Barber. A track appeared on the Internet, titled "Be Ok" on Barber's Universal Records debut. citation needed] In May 2010, Manzarek recorded with slide guitarist Roy Rogers in Studio D in Sausalito, California. Their album, Translucent Blues, released in mid-2011, was ranked No. 3 on the Top 100 Roots Rock Albums of 2011 by The Roots Music Report. [22] In February 2012, Manzarek recorded " Breakn' a Sweat " with DJ Skrillex and his fellow former Doors members Robby Krieger and John Densmore. In August 2013, Twisted Tales was released and dedicated to Manzarek after his passing. The unlikely musical duo of Manzarek and Roy Rogers, Manzarek-Rogers Band, for eight years substantiated the concept "opposites attract" since the latter is perceived for slide guitar and delta blues. The lyrical content is primarily penned by songwriter/poets Jim Carroll and Michael McClure. [23] Personal life, death and legacy [ edit] Manzarek married fellow UCLA alumna Dorothy Aiko Fujikawa in Los Angeles on December 21, 1967, with Jim Morrison and his longtime companion, Pamela Courson, as witnesses. Manzarek and Fujikawa remained married until his death. They had a son, Pablo born in August 31st 1973, and three grandchildren. [14] In the early 1970s, the Manzareks divided their time between an apartment in West Hollywood, California and a small penthouse on New York City's Upper West Side. [24] They subsequently resided in Beverly Hills, California (including ten years in a house on Rodeo Drive) for several decades. [24] For the last decade of his life, Manzarek and his wife lived in a refurbished farmhouse near Vichy Springs, California in the Napa Valley. [25] In March 2013, Manzarek was diagnosed with a rare cancer called cholangiocarcinoma (bile duct cancer) and traveled to Germany for special treatment. During that time he reconciled with John Densmore, and he spoke to Robby Krieger before his death. He also performed a private concert for his doctors and nurses. Manzarek was "feeling better" until it took a turn for the worse according to his manager. On May 20, 2013, Manzarek died at a hospital in Rosenheim, Germany, at the age of 74. [26] 27] His body was cremated. Robby Krieger said, I was deeply saddened to hear about the passing of my friend and bandmate Ray Manzarek today. I'm just glad to have been able to have played Doors songs with him for the last decade. Ray was a huge part of my life and I will always miss him. 27] John Densmore said, There was no keyboard player on the planet more appropriate to support Jim Morrison's words. Ray, I felt totally in sync with you musically. It was like we were of one mind, holding down the foundation for Robby and Jim to float on top of. I will miss my musical brother. 28] Greg Harris, president and CEO of the Rock and Roll Hall of Fame, said in reaction to Manzarek's death that "The world of rock 'n' roll lost one of its greats with the passing of Ray Manzarek. 29] Harris also said that "he was instrumental in shaping one of the most influential, controversial and revolutionary groups of the '60s. Such memorable tracks as 'Light My Fire. People Are Strange' and 'Hello, I Love You' – to name but a few – owe much to Manzarek's innovative playing. 30] At 9:31 on May 21, The Whisky a Go Go and other clubs where the Doors played dimmed their lights in his memory. An invitation-only memorial service was held on June 9 in the Napa Opera House. February 12, 2016, at the Fonda Theatre in Hollywood, John Densmore and Robby Krieger reunited for the first time in 15 years to perform in tribute to Manzarek and benefit Stand Up to Cancer. That day would have been Manzarek's 77th birthday. The night featured Exene Cervenka and John Doe of the band X, Rami Jaffee of the Foo Fighters, Stone Temple Pilots' Robert DeLeo, Jane's Addiction's Stephen Perkins, Emily Armstrong of Dead Sara and Andrew Watt, among others. In April 2018, the film Break On Thru: A celebration of Ray Manzarek and The Doors was premiered at the 2018 Asbury Park Music & Film Festival. The film highlights the 2016 concert in honor of Manzarek's 77th birthday and new footage and interviews. The film won the APMFF Best Film Feature Award at the festival. Discography [ edit] Solo [ edit] The Golden Scarab (1974) The Whole Thing Started with Rock & Roll Now It's Out of Control (1974) Carmina Burana (1983) Love Her Madly (2006) Nite City [ edit] Nite City (1977) Golden Days Diamond Nights (1978) With Bal [ edit] Atonal Head (2006) With Echo & the Bunnymen [ edit] Bedbugs and Ballyhoo (1987) With Michael McClure [ edit] Love Lion (1993) The Piano Poems: Live From San Francisco (2012) With Darryl Read [ edit] Freshly Dug (1999) With Roy Rogers [ edit] Ballads Before The Rain (2008) Translucent Blues (2011) Twisted Tales (2013) Spoken word [ edit] The Doors: Myth And Reality, The Spoken Word History (1996) With "Weird Al" Yankovic [ edit] Craigslist (2009) With poet Michael C. Ford [ edit] Look Each Other in The Ears. Hen House Studio Album includes The Doors: Ray Manzarek, Robby Krieger, and John Densmore. 2014 Filmography [ edit] Love Her Madly (2000. Director and co-writer. Induction (1965. Actor (Ray) director, and writer. The Wino and the Blind Man (1964. Actor (blind man. Evergreen (1965. Writer and Director. Deal of the Century (1983. Actor (Charlie Simbo. The Poet in Exile (in production. References [ edit] "Doors Legend Doors In. The Warsaw Voice... Retrieved May 20, 2013. ^ Ray Manzarek Bio - Ray Manzarek Career. Retrieved June 25, 2016. ^ Manzarek, Ray. Light My Fire. New York: Berkley Boulevard Books, 1998. ISBN   0-425-17045-4 ^ Jane Connelly. "DePaul's musical history: Ray Manzarek and The Doors, Newsline, DePaul University, A Publication for Faculty and Staff. Retrieved January 21, 2017. ^ Gillian G. Gaar. The Doors: The Illustrated History... Retrieved January 21, 2017. ^ In the Army with Ray. Hot Metal Bridge. Retrieved January 21, 2017. ^ Co-Founder of The Doors Ray Manzarek has passed away, UCLA School of TFT. Retrieved January 21, 2017. ^ Ray Manzarek (October 15, 1999. Light My Fire: My Life with The Doors... p. 83. Retrieved January 21, 2017. ^ Fricke, David (June 20, 2013. Ray Manzarek of the Doors. Rolling Stone (1185) 26. ^ Maharishi Mahesh Yogi Obituary, Rolling Stone, March 6, 2008, p. 16 ^ a b Goldstein, Patrick. "Nite City: The Dark Side of L. Archived July 9, 2008, at the Wayback Machine, Creem (September 1977. Retrieved May 15, 2008 ^ Ray Manzarek and Michael C. Ford at Hen House Studios, video ^ Hearts of Fire (1987. Internet Movie Database. Retrieved May 20, 2013. ^ a b "Ray Manzarek, the Doors' keyboardist, dies at 74. Los Angeles Times. May 20, 2013. ^ Los Angeles - X, Credits. AllMusic. Retrieved January 21, 2017. ^ Love Her Madly; IMDb. Retrieved 2013-12-21. ^ Love Her Madly credits; IMDb. Retrieved 2013-12-21. ^ Sarah Phelan, Madly' Deeply; Metro Santa Cruz, May 19–26, 2004. Retrieved 2013-12-21. ^ The buttercream Gang with guest Ray Manzarek on YouTube. Retrieved November 6, 2010. ^ Yankovic, Al. Alpocalypse at Allmusic, credits at AllMusic. Retrieved May 24, 2013. ^ Yankovic, Al (May 20, 2013. Ray Manzarek plays "Weird Al" Yankovic's "Craigslist" A/V stream. YouTube. Retrieved May 24, 2013. ^ The No. 1 Independent, International Music Charts in the World – Music News, Reviews. More. Helping the Music Artist along with Radio Stations and Record Labels. Roots Music Report. Retrieved May 20, 2013. ^ Slide guitarist Roy Rogers talks 'Twisted Tales' final album with Ray Manzarek. Retrieved June 25, 2016. ^ a b [1. dead link] "Rock 'n' roll retreat / The Doors' Ray Manzarek and his wife savor life in Wine Country. Retrieved January 21, 2020. ^ Ray Manzarek, Founding Member of The Doors, Passes Away at 74. The Doors Property, LLC. May 20, 2013. Archived from the original on August 7, 2013. Retrieved May 20, 2013. ^ a b "Keyboardist Ray Manzarek of The Doors dies at age 74. Reuters. May 13, 2013. Retrieved May 20, 2013. ^ John Densmore on TwitLonger. TwitLonger. May 20, 2013. ^ Lewis, Randy (May 20, 2013. Ray Manzarek dies at 74; the Doors' keyboardist. Retrieved February 3, 2015. ^ Cava, Marco della (May 20, 2013. Ray Manzarek's keyboards opened musical doors. USA Today. Retrieved February 3, 2015. Further reading [ edit] Light My Fire: My Life with The Doors (1998) ISBN   0-425-17045-4 The Poet in Exile (2001) Thunder's Mouth Press, 2002 paperback: ISBN   1-56025-447-5 Snake Moon (2006) ISBN   1-59780-041-4 External links [ edit] Official website Official Manzarek-Krieger website Official Ray Manzarek & Roy Rogers Official Ray Manzarek & Michael McClure The Doors official website Ray Manzarek on IMDb Ray Manzarek shares moments of his life story and career NAMM Oral History Interview December 8, 2008.

The Doors and Trafalgar Releasing have announced the upcoming release of The Doors: Break on Thru - A Celebration of Ray Manzarek, coming to cinemas worldwide for a one-night-only event on Feb. 12. The film will bring fans together in theaters to celebrate the extraordinary legacy of the late Ray Manzarek, co-founder and keyboardist of The Doors, on what would have been his birthday. This critically acclaimed, all-star hybrid concert-documentary was filmed at the Fonda Theatre in Los Angeles, CA and brought surviving members from The Doors, Robby Krieger and John Densmore, on stage for the first time in 15 years to celebrate the birthday of Manzarek alongside captivating performances from Foo Fighters Taylor Hawkins and Rami Jaffee, Stone Temple Pilots Robert DeLeo, Paul McCartney s Brian Ray, Xs Exene and John Doe, Janes Addiction s Stephen Perkins, Govt Mule s Warren Haynes and more. STARRING ROBBY KRIEGER (THE DOORS. JOHN DENSMORE (THE DOORS) TAYLOR HAWKINS (FOO FIGHTERS. RAMI JAFFEE (FOO FIGHTERS) ROBERT DELEO (STONE TEMPLE PILOTS. STEPHEN PERKINS (JANES ADDICTION) JOHN DOE (X. EXENE CERVENKA (X. WARREN HAYNES (GOVT MULE) FEATURING BRIAN RAY (PAUL MCCARTNEY BAND. EMILY ARMSTRONG (DEAD SARA) NASRI (MAGIC. ANDREW WATT * WAYLON KRIEGER * JIM MANCZAREK * PHIL CHEN * NATHAN WILMARTH * PABLO MANZAREK * BEN FONG-TORRES With a setlist of Doors classics and compelling behind the scenes interviews and footage, this film celebrates the longevity of The Doors, bringing multiple generations together to celebrate this iconic band. Proceeds from the LA concert were donated to Stand Up for Cancer as selected by Ray Manzarek. Participating theaters and tickets can be found at. John Densmore, drummer of The Doors, shared: It was such an honor to play with these world-class musicians in a tribute to our magical keyboard player. " Kymberli Frueh, SVP Programming & Content Acquisitions at Trafalgar Releasing has said on the news: “ Break On Thru is a true celebration of Doors co-founder Ray Manzarek and includes a whole host of musicians inspired by him including Taylor Hawkins of the Foo Fighters and Robert DeLeo from Stone Temple Pilots. Trafalgar Releasing is pleased to present the first-ever global fan cinema gathering sanctioned by The Doors to celebrate Manzareks incredible legacy. ” 2019 has been strong for music releases from Trafalgar Releasing in cinema. Coming up next is GORILLAZ: REJECT FALSE ICONS. Recent successes have included  Depeche Mode: SPIRITS in the Fores t directed by Anton Corbijn,  Shakira in Concert: El Dorado World Tour,  Metallica and San Francisco Symphony: S&M², which became the biggest ever rock music event in cinemas globally,  BRING THE SOUL: THE MOVIE, which became the single largest event cinema release globally, Grateful Deads 9th Annual Meet-Up at the Movies, Tribeca documentary  Between Me and My Mind  about Phish frontman Trey Anastasio,  Roger Waters Us + Them, Slayer: The Repentless Killogy, Rush Cinema Strangiato 2019  and  The Cure: Anniversary 1978-2018 Live in Hyde Park London. The London based outfit has previously released films including Coldplay: A Head Full of Dreams, The Music Center presents Joni 75: A Birthday Celebration, Khalid Free Spirit, One More Time with Feeling, among others. The Doors: Break on Thru - A Celebration of Ray Manzarek will be screened in cinemas around the world on Feb. Tickets are on sale now at, where fans can find the most up-to-date information regarding participating theaters. Evergreen, a student movie produced by Ray Manzarek, and Five Situations, a film for which fellow UCLA classmate Jim Morrison did sound, are now in the process of being restored from the Ray Manzarek & Jim Morrison Preservation Project. Funding is in process, which will allow the UCLA Film and Television Archive to clean the films and transfer them from fragile 16-mm prints to high-resolution digital cinema packages. Once this has been done, the films are scheduled to be screened in Westwood, CA at the Billy Wilder Theater at the Hammer Museum at UCLA, along with a collection of other student films made by notable alumni, as part of the UCLAs upcoming year-long 100th-anniversary celebrations. “Ray would have been pleased and flattered of course, ” said Dorothy Fujikawa in a 2019 UCLA media statement. Fujikawa, who was married to Manzarek from 1967 until his death in 2013, had a leading role in Evergreen. I saw The Doors perform at the Forum in Inglewood, CA in 1968, and first met Ray Manzarek in 1974 at Mercury Records on Hollywood Boulevard. I interviewed Ray a dozen times over forty years and produced a handful of recording sessions with him. Im one of the fortunate eight people listed in the dedication in his autobiography, Light My Fire. Ray was also interviewed in my 2004 book This Is Rebel Music. During 1996, I co-produced and curated a Rock Literature music series at the MET Theatre in Hollywood and all three surviving Doors performed one evening. Manzarek also penned the introduction to my 2009 coffee table book, Canyon of Dreams: The Magic and the Music of Laurel Canyon. He graciously joined me for two book signing events in Oakland and San Francisco. In 2011, Ray, Doors engineer-producer, Bruce Botnick, Elliot Lefko of the AEG/Golden Voice company and I were the featured panel discussion in the second annual Pollstar Live! Conference, The Doors—An L. A. Legacy, held at the Marriot at L. Live in Los Angeles. My 2014 book Turn Up The Radio! Rock, Pop and Roll in Los Angeles 1956-1972, carries a dedication to Ray. Raymond Daniel Manzarek (born Raymond Daniel Manczarek) was born Feb. 12, 1939, in Chicago, IL. Ray resided with his family on the Southside of Chicago and graduated from DePaul University with a B. in Economics. "I was trained classically and I think it opened up a lot of avenues for the rock element to enter. Rock & roll to me is just like jazz. Its an improvisational medium. I left classical music because it didnt allow me to improvise. I didnt feel that I wanted to subjugate myself to another mans thoughts. I loved the technical training though, and theres nothing like it. I love the act of making my fingers move over the organ and piano. Manzarek stressed to me in a 1974 interview in the now-defunct Melody Maker. In the early 1960s, the Manzarek clan relocated to the South Bay community of Redondo Beach in Southern California. Ray also fronted a band, Rick and The Ravens, and was exposed to '50s and 60s jazz records, as well as the sounds emanating from the seminal World Pacific Records label. It was in Westwood, CA, at the UCLA School of Film in 1964-1965 where Manzarek first encountered James Douglas Morrison and then earned an M. degree in Cinematography. In 1965, Ray fronted Rick and The Ravens, and that same year joined up again with Morrison on the beach in Venice. The singer's poetry was a perfect fit for the classically trained keyboardist's musical ideas, and eventually they decided to form a band, taking the groups name from Aldous Huxleys infamous psychedelic memoir, T he Doors of Perception. They soon teamed with drummer John Densmore and guitarist Robby Krieger formerly in the band Psychedelic Rangers. The Doors actively toured and recorded together until 1971. Producer Paul A. Rothchild and engineer-producer Bruce Botnick for Elektra Records created seismic studio albums and oversaw live recordings that issued that changed the course of popular music. Ray Manzarek directed three long-form films on the Doors. The Doors: Live At the Hollywood Bowl; The Doors: Dance On Fire; and The Doors: The Soft Parade. Manzarek produced and performed on five albums by the L. band X, including Los Angeles. He continued to record, produce albums and write. Manzarek authored The Poet in Exile, as well as his autobiography, Light My Fire: My Life With The Doors, and most recently penned a second novel, Snake Moon (Night Shade Books) which is a Civil War-era ghost story. He released a new CD, Atonal Head (PBM Records) his endeavor into electronica, which he describes as "jazz-based with computer additives. done in collaboration with Polish expatriate jazz musician Bal. Theres also a rendition of "Riders on the Storm. with guest vocal by Jim Morrison. As we approach his February birthday celebration, Ive curated this interview below culled from a series of dialogues we had from 1974-2013. Q: Talk to me about your early encounters with Jim Morrison and especially his singing voice. I walked with you on Venice Beach last decade and you pointed at the sand and said, ‘This is where Jim sang to me in a Chet Baker-like voice. His voice had a softness to it. Morrison got louder and better as a singer during the entire Doors recording process. A: When I first heard Jim sing in Venice I thought he had it. There was no doubt that he would not have any problems ‘cause the microphone is no problem. Pitch is the problem with a singer. Can you sing in the same key on pitch? And I worked with a lot of singers who cant do that. Finding the notes. But Morrison had a good sense of pitch. So, if it was in the key of G, he would sing ‘Moonlight Drive in the key of G. And he would be there right on pitch. That was the important thing. The rest of it was all acquired expertise in your practice of your instrument. “Interestingly, on ‘Moonlight Drive is that its a really a seminal, or a signpost song. Its the first song Jim Morrison sang to me on the beach. It had been after we graduated UCLA and I ran into him on the beach. ‘What have you been doing? ‘Ive been writing songs. ‘Sing me a song. ‘Im shy. ‘Youre not shy. Stop it. Theres nobody here. Just you and me. Im not judging your voice. I just want to hear the song. Besides, you used to sing with Rick and The Ravens at the Turkey Joint West and did ‘Louie Louie until you could not talk. " Q: How was Morrison on stage even then? I know later he went straight into a garage rehearsal room with you and the boys. Was he a natural even in jams at the Turkey Joint West venue? A: No. (laughs. It took a while and later to work it out on stage at The London Fog and Whisky A Go-Go. But by God, he sure did scream a lot and sure had a willing injection of energy into rock & roll. Q: Lets discuss the epic debut LP The Doors. It was done at Sunset Sound with producer Paul A. Rothchild and engineer Bruce Botnick. A: Sunset Sound was a very hip recording studio on Sunset Blvd. The Beach Boys had been there. Herb Alpert, Love. It was owned by a trumpet player, Salvador) Tutti Camarata and he had the Camarata Strings, I believe. "It was an excellent recording studio, four tracks. Rothchild and Botnick. Never had met Bruce before. Paul was the producer. “Rothchild and Botnick are Door number 5 and Door number 6. Theres four Doors in the band and two Doors in the control room. So, they were always there, always twisting the knobs and really on top of it. A couple of high IQ very intelligent guys. We couldnt have done it without them. “Paul Rothchild was the guy who had produced The Paul Butterfield Blues Band and also Love, along with Botnick. The two of them did those albums together. So, Robby was a big fan of the Butterfield Blues Band and he was very excited that Paul Rothchild was gonna produce for us. I didnt know either one of them and not familiar with their work outside of Love. I had heard Paul Butterfield and thought it was good. Chicago blues by Chicago white boys. Being a Chicago white boy myself I could identify with Chicago white boys playing the blues. So it was a great combination of six guys. That first album was basically the four Doors and the two other Doors in the control room making the sound. We made the music. They made the sound. And they did an absolutely brilliant job. And it was a real joy and a great learning experience. “I had been in a fabulous recording studio before at World Pacific on 3 rd Street in LA with Rick and The Ravens for Dick Bock. And thats where we cut The Doors demo, along with some Rick and The Ravens songs. “Rothchild and Botnick were two alchemists with sound. We were the alchemical music makers but they were alchemists with sound-adding a bit of this, a bit of that. Some reverb. Some high end. Lets hit it at 20k or 10k. Lets dial in a bit of bass in there. They were making this evil witches brew concoction as we went along. And the sound just got better and better. Q: And on this album, and subsequent sessions you were joined by a studio bassist who essentially followed and copied your bass lines done on the Fender Rhodes. A: I was the bass player of The Doors. When it came to recording I played a Fender Rhodes keyboard bass. The instrument was great in person because it had a deep rich sound and moved a lot of air. But in the recording studio, it lacked a pluck. It did not have the attack that a bass guitar would have-especially if you played a bass guitar with a pick. You had plenty of attack. So, on some of the songs, we brought in an actual bass player, one of the Los Angeles cats, Larry Knechtel. Who played the same bass line that I played on ‘Light My Fire, who doubled my bass line. They could then get rid of my bass part and use the nice sound that Larry Knechtel could get. The click and the bottom. Q: And, in the sound mix the keyboard was treated equally. Not a second thought overdub or hidden below in the collaboration. A: Well it had to be. We were the Modern Jazz Quartet! Q: You had schlepped some of these songs in demo form in 1966, and had played the material all over the clubs locally before you put them down on tape for the debut album. I would imagine you didnt labor over whole first L. P. in the studio. A: I had been in the World Pacific studio before, but Jim had never been in a vocal booth. He had some hesitations because he was a rookie. “Well the whole thing took ten days. Boom. Were done. Were out of here. ‘Light My Fire was two takes. ‘The End was two takes. Q: You then start Strange Days L. P. A: Album two is recorded on an eight-track. The first album was four-track. We now had four more tracks. That meant everything that we could do on the first album We would still have four more tracks leftover for overdubs. For experimentation. So we experimented in and out of the universe. I actually played one of the songs backwards. The song was played to me backwards and I had each bar written out with the chord change that went along with it and I started reading the music on the lower right-hand side and read right to left across the bottom line. And then jumped to the next line, when I got to the end of the previous line, jumped to the next line up on the right-hand side, reading everything backwards, bottom to top, getting closer and closer, finally to the top line and hoping that I end when the song begins. ‘Cause its all going along and its backwards. Im following (John) Densmores beat on the bass drum not knowing whats going to happen. And sure enough, I get to the last measure here are four more beats! I stopped and the music stopped. It was a miracle. And everyone went, ‘You did it Ray! And I went to the guys and said to them in the control room. And I said, ‘Please, whatever you do, help me here, never let me do his ever again. And they collectively said, ‘Thats a deal, Ray. " Q: You saw the studio becoming a laboratory. A: Exactly. It was a place where we could really experiment. We could put on our lab tech coats rather than coming in with our ‘Mod outfits. Its almost as if we put on our glasses. I felt like I was in a 1932 German Science Fiction movie, ‘Woman In The Moon, something along that line. Some Fritz Lang. It was like ‘Metropolis and we were wearing those glasses that you wear so you dont get sparks in your eyes and we had lab coats on. And we were preparing this strange concoction called ‘Strange Days. Q: You had already had some of the songs for it like ‘Moonlight Drive from 1965, 66, and now in 1967, its coming to fruition in the studio. Plus, Jim Morrisons voice really went further and deeper on the “Strange Days” expedition. A: Well, the man had his chops as they say. Jim got his chops together. He had a thick bull neck resembling a large engorged male organ. And by then, he could sing, man. That throat had opened up and that man was singing. Q: Theres the Morrison scenic lyric “under television skies” in “My Eyes Have Seen You” that chronicles a pre-cable TV world he witnessed. On Strange Days the Doors employ Doug Lubahn as studio bassist on the album. A: Yes. And Doug and I worked very closely together and I showed him what I wanted on the bass parts. And he would play it and improvise on what I had shown him and expand upon it. He was not playing exactly what I told him to play. He was adding his own little touch to it that made it extra exciting for all of us to be there. He was just a great stoner, hippie, good guy. Q: He played with a band Clear Light. A: They were originally called The Brain Train. Great name and they change it to Clear Light. ‘Why? I asked Doug, ‘Why did you change your (band) name? ‘I dont know, Ray. It wasnt up to me. Q: On Strange Days your organ work offers a tiny tip of the hat to Herbie Hancock and his composition “Watermelon Man” just on the end hang lyric conclusion of “When The Musics Over. ” A: Oh absolutely. Thats Herbie Hancock, man. Im borrowing a little bit of Herbies piano line. My keyboard line is a variation of his piano line on ‘Watermelon Man. Q: As you are hearing Jims lyrics to “When The Musics Over, ” late 1967, this is a timeline pre-Earth Day that began in 1970. Those lyrics are detailing ecological concerns and environmental chaos. Psychological territory away from ‘The End song. You and the band are the new soundtrack to global warning and the continual destruction of our planet. A: I knew Jim was a great poet. Theres no doubt about that. See thats why we put the band together in the first place. It was going to be poetry together with rock ‘n roll. Not like poetry and jazz. Or like it, it was poetry and jazz from the ‘50s, except we were doing poetry and rock ‘n roll. And our version of rock ‘n roll was whatever you could bring to the table. Robby bring your Flamenco guitar, Robby bring that bottleneck guitar, bring that sitar tuning. John bring your marching drums and your snares and your four on the floor. Ray bring your classical training and your blues training and your jazz training. Jim bring your Southern gothic poetry, your Arthur Rimbaud poetry. It all works in rock ‘n roll. So Jim was a magnificent poet. I loved his poetry. The fact that he was doing ecological poetry. ‘What have they done to the earth? Q: Again, like in the entire Doors studio journey, Rothchild and Botnick are taking the whole trip into a new sonic world. A: Absolutely. We knew each other. We were friends. We would hang out together. We would get high together and go to each others houses and hang out. Q: You know, as a kid, I would see some of The Doors in Los Angeles eating at Norms restaurant on La Cienega right next to the Elektra Studios. It was near our Fairfax High School. Even then I sort of knew you guys were recording and didnt bother you at a table or the counter. My Aquarius mother said something like, ‘Let them eat. Theyre on the clock. I didnt quite know then what she meant. At the time she was working for The Monkees and the Columbia Pictures movie studio. A: Absolutely. It was work. We didnt fool around. “I was not able to duck out of Sunset Sound, or TT&G or later at Electra to see bands or local jazz at Shelleys Manne-Hole. No! We were working. Were recording. The clock is ticking. This is your job. Your job starts at 2:00 p. m. in the afternoon and goes to 11:00 at night, 12 or one oclock in the morning. You go home. You got to bed. You get up the next day. Maybe at 11:00 a. have a leisurely breakfast, take care of a couple of things and go back to the recording studio. Because guess what, Harvey. The recording studio is the only place you wanted to be. I didnt want to see anybody. I didnt want to go to a film or a jazz club. I wanted to make records. Right then and right there. With Jim Morrison, Robby Krieger, John Densmore, Paul Rothchild, Bruce Botnick and Doug Lubahn. Great bass player. " Q:  Why do Jim Morrisons lyrics work so well in recordings and the printed page? A: Well, you know, Harvey, because lyrics are poetry. The words were well edited. Jim was good that way when it came to songs. When you are doing this written poetry you can really stretch out and you can really expand. And, no one so far has done an ‘Ezra Pound on Jim Morrison. With his poetry, hed throw this out, take this line, or two lines, but when it comes to music you gotta be very choosy because you only have a short period of time. Songs in a way, outside of like ‘The End, and ‘When The Musics Over, are sorta like haikus. The fit has to be very tight. “I saw Jims words before he started writing songs. So, when you see his words on the page thats poetry. I always thought of Jim as a good poet. But when he started writing songs, then everything became verse, chorus, verse, chorus. Really tight, and it was a whole other ball game. He put his words into an entirely different context. A musical context. A hit single in a three-minute context. I thought ‘Moonlight Drive was brilliant. Q: The Waiting For The Sun album. Some songs already existed in raw form but a lot of new material was written for this endeavor. A: You know its time to do a record when you have 10 or 12 songs together. When it hits a dozen times to enter the recording studio. I mean, we worked on those songs. I mean, when we would get together in the rehearsal studio they were polished. They were changed. They were adapted. Somebody, invariably Robby or Jim who would come up with the original idea. But boy, the four of us would get together, change and modify and polish the songs. Q: “Hello, I Love You” from Waiting For The Sun had been around for a while. A: Yes. It was a song Jim wrote on the beach when we used to live down in Venice. Dorothy would go off to work and Jim and I would go off to the beach around the rings on the sand at Muscle Beach and work out around the bars, rings and swings and get ourselves into physical shape. He was gorgeous. Man, he was perfect. He was a guy who had opened the doors of perception and made a blend of the American Indian and the American Cowboy. He was the white Anglo Saxon Protestant. The WASP who had taken on the mantle of the American Indian. He now was no longer a fighter of Indians. He was a lover of American Indians. Like John F. Kennedy, that guy would have been a great President. Pre-alcohol, would have been a great President. The alcohol, unfortunately, destroyed Jim Morrison. Q: Once again, some warnings about the environment are inherent in the lyrics. ‘Not To Touch The Earth. ” A: Sure. Yes. Ecology was very, very big. We were all trying to save the planet. The sun was the energy. The supreme energy. “The establishment, as we called it, the squares, as they were called in the Fifties, the establishment as they were called in the Sixties, were trying to stop drug use, the smoking of marijuana and trying to stop any kind of organic fertilizer. The word organic to them meant hippie, radical potheads and people who wanted to leave behind the organized religions and start some new tribal religion based on American Indian folklore. Thats indeed what we were. We called ourselves the new tribe. " Q: You served in the military before the Doors started. The bands “Unknown Soldier” must have been partially informed or reinforced by your stint. A: Everyone had to do military service. This was a time just before Vietnam. I was lucky. Everybody had a military obligation. You had to do your time in the service. So I did my time. Besides Thailand, I went to New York City and then I went to Okinawa, fell in with a bunch of jazz musicians, smoked a little grass there. I thought it was fabulous. Then I went to Thailand and where I had my real first Thai stick experience. Courtesy of Uncle Sam. Q: On Waiting For The Sun The Doors question government on “The Unknown Soldier” and “Five To One. ” A: That was a time when we started questioning the government. Everyone was questioning the government. That was all based on the war in Vietnam. And why are we in Vietnam? Why are we fighting these people? And the theory was, very much like in Iraq, it was the domino theory. If Vietnam falls then all of Southeast Asia is going to fall to the Communists and then they will be into the Philippines and then all the way to Australia will go Communists. The Communists scare is the same scare that is the same scare that we know with the Islamic scare. Q: Why does “Celebration of The Lizard” from “Waiting For The Sun” still resonate? Shaman and poet/singer Morrisons lyrics are prophetic. A: We were working in the future space. The Doors on their third album were in the future. And many things have come to pass that Jim Morrison wrote about. Q: It seems as if The Doors and technical people were allowed to create and flourish without record label monitoring or corporate interference. Did Elektra Records owner Jac Holzman come to the sessions? A: Once in a while. Sure. He was a real cheerleader if anything. Q: We are then lead into The Soft Parade. Was there a pre-production meeting where everyone voted to include the use of strings and horns on the album? A: We had made three albums with the same formation and at some point or another when you make albums you want to do an album with expanded sound. So you want to have some horns and strings. My God, everybody did it. And we were gonna do it too. I want some strings. I want some jazz arrangements. I want some classical arrangements. And everyone said yes. Great idea. And a record label that said it was fine. What was great about the record label was that Jac Holzman said, ‘Boys, do whatever You want. Just dont use the seven illegal words. George Carlins seven forbidden words. Other than that, anything goes. Whatever you want to do. And Paul Rothchild encouraged it. Q: You are using the new Elektra Studios as well. A: We have left Sunset Sound. The first two there and the Third at TT& G. on Sunset and Highland in Hollywood. We then went into Elektras new place. Fabulous. It was all wooden. Brand new state of the art facility. We thought it was great and would be able to play there for free. I mean, after wall, it was really the studio that The Doors built. ‘Jac, this is gonna be great when he showed it to us. And we get to record here for free. Jac said, ‘Free? No. You dont get to record here for free. But, Ill tell you what Ill do. For you guys a ten percent discount. laughs. But it was a great recording studio and they had a great funky organ in there. Gnarly organ. Q: George Harrison dropped by one of your Soft Parade sessions. He was visiting the Elektra studios. He mentioned all the musicians at your date reminded him of The Beatles Sgt. Peppers because of the orchestra booked. A: Yes. A Beatle in the room. A very charming guy. Very low key. And Im surprised John Densmore didnt become good friends with him. Q: And, once again, the Morrison vocals are potent, distinctive and his voice more confident than ever. A: Hes no longer a blues singer. Hes added Frank Sinatra crooning to his voice and did an absolutely brilliant job. Terrific. Girls loved it. ‘Touch Me a number one song. Q: You also had individual writing credits for the first time on the album sleeve. A: Thats a great story. Because of ‘Touch Me. The song was initially called ‘Hit Me, and Jim is gonna say hit me. Its ‘Hit Me like in poker. And Jim said, ‘No Its not like poker. Its like someone is gonna walk up to me and are gonna hit me. You gotta change the line. ‘To what? ‘Touch Me. Beautiful. And along with that ballad part he sings in ‘Tell All The People the line with ‘Get your guns…Follow me down. “Morrison, a military boy said, ‘I am not going to say that. And Robby replied, ‘thats the way I wrote it and you cant change it. Robby was going to stand up to Jim at that point. And Jim said, ‘I am not going to do it. “And Robby said, ‘well thats the song. And Jim said, ‘Were gonna have to say that you wrote this song. And Robby said, ‘OK. Fine with me. And that lasted for one or two more albums. Guitarist Robby Krieger was another kind of songwriter. He penned a lot of the popular radio hits and chart singles. “Love Me Two Times, ” “Spanish Caravan, ” the lyrics to “Tell All The People, ” “Touch Me, ” “Runnin Blue, ” “Love Her Madly, ” and co-wrote “Peace Frog” and “Light My Fire” with Morrison. "Robby was a different sort of lyric writer. You know, Robby might be the secret weapon of the Doors, we get this great guitar player who plays bottleneck, and all of a sudden he comes in and plays ‘Light My Fire, the first song he ever co-wrote with Jim. And then Robby wrote ‘Love Me, Two Times, ‘Love Her Madly. ‘Touch Me. Lots of Doors hit singles. Another guy with a high IQ. " Q: On The Soft Parade you had Harvey Brooks as well as Doug Lubahn on bass, saxophonist Curtis Amy and George Bohanan the trombonist. A: Wasnt that great. Curtis Amy, who was married to Merry Clayton. Curtis was a big nationally known jazz horn player who lived in Los Angeles. He takes he solo on ‘Touch Me. It might have been the first time a real jazz saxophone solo went to number one on pop charts. And, we brought the strings and horn players to some shows and TV appearances. It was a great deal of fun for me to bring them on stage. “It didnt work for a lot of the critics and teenagers. ‘Were not coming to see you guys expand. We want to see ‘Light My Fire. Four Doors. The sexy lead singer. You play the songs. No horns. No strings. No jazz soloing. Well, youre gonna get it anyway. Like, at the Forum show you get Jerry Lee Lewis, Lonnie Mack, Sweetwater and a Chinese Pipa player, too. Q: And by ‘ The Soft Parade Jim Morrison started to indulge and really drink. A: Jimbo came out. They call it the demon rum. Theres a demon in the bottle. And theres a demon in that white powder, too. A demon on the blade. You know what those things do? They open the trap door of the subconscious and allow some creature to come out. And the alcohol for Jim, a genetic pre-disposition famial pre-disposition to alcohol, something came out, man. “Some kind of combination. He went from being the poet to a shooter. Shooter Morrison. I was flabbergasted. “We started experimenting in the studio. I wouldnt allow anything to get out of the recording studio without my approval. If I didnt think it was right it did not go on a record. Nothing happened without my OK. We did some composite vocals. You do what you have to do. If Jim sings one line great. Fine. Then lets get the next line. Lets get the words, man. Whatever it takes to get the best possible performance. While you can see that Jim Morrison is undergoing a transformation. Right before our very eyes. And I hoped that this transformation was short-lived. But it wasnt. "This cant last. This is not Jim. " Courtesy of Rhino Q: The Doors then arrive at Morrison Hotel. Why this direction? A: Well, we had done our horns and strings experimentation. We had had a great time. I had a great time. Critically it was our least acclaimed album. However, it has stood the test of time and there are many great songs on there. So, you know what? Weve done that experimentation. Lets go back to the blues. Lets get dark and funky. Lets go downtown for the album cover. We went to the Hard Rock Café on skid row with (photographer) Henry Diltz. And we went to a flophouse called The Morrison Hotel. Rooms A sign read 2. 50 and up. It was definitely supposed to be a funky album and you can see that on the inside photo and the front and back cover. Album covers were always important. We were involved heavily in that process. You could never just turn it over to the record company. Everything that The Doors turned out had to be stamped by The Doors. We approve of this. “My God, Strange Days, what an album cover. We told the art director from Elektra Records, Bill Harvey, ‘Make something ‘Fellini-esque. And he did that on his own. Thats all we told him. We saw the photos and said, ‘Bill this is fabulous. Youve outdone yourself. And Bill said, before he died, ‘Thats the best album cover I ever did. Q: And, theres a song called ‘Waiting For The Sun on Morrison Hotel. A: We loved the title. But the song had not come together earlier. We finally got it and a beautiful piece of music. It needed to cook more. Sometimes Doors songs came out of the collective conscious whole. ‘Bam. Thats it. Others needed to cook and they needed be worked on. And ‘Waiting For The Sun was one of those songs with a great title and the song took a while to jell. Q: Its a hard mean album. Morrisons voice lends itself to this specific material. A: It was a barrelhouse album and barrelhouse singing. Hes smoking cigarettes. ‘Jesus Christ, Jim. Do you have to smoke cigarettes and drink booze? He didnt say it but it was like, ‘This is what a bluesman does. Oh fuck. Thats right. Youre an old bluesman. He says that in one of his lines. ‘Ive been singing the blues since the world began. And Rick and The Ravens was a surf and blues band from the South Bay. ‘Roadhouse Blues. Q: How could Jim Morrison with his Dionysian demeanor write and suggest instruction or guidance lyrically in that song, “Keep your eyes on the road your hands upon the wheel, ” when most of the time he certainly didnt operate or drive a car like this himself? A: Well that was the better Angel. Thats Jim Morrison. Not Jimbo. Jimbo was the guy who took Jim to Paris and said, “lets go and die in Paris. Were going to have a death in Paris. Like Thomas Manns novella Death In Paris. That was Jimbo... Q: In addition, the album brings us as into the water and film noir aspect of Los Angeles. Water is a principal theme explored. “Ship of Fools. ” The “River of Sadness” cited in “Peace Frog, ” and the salvation of the ocean and the destination charted in “Land Ho! ” A: Water, ships. It clicks big time. The water images and that beach down in Venice. And that ocean side. ‘Moonlight Drive again. And the water always entered into Morrisons life. And where does his life expire? In the water in the bathtub in Paris. From the amniotic fluid of his birth to the bathtub in Paris. His final expiration. Q: Lonnie Mack plays bass on a couple of tracks on Morrison Hotel. He had an instrumental hit with a version of Chuck Berrys “Memphis. ” A: He was great, man. Lonnie Mack. He was either recording in the next studio, or working around us, or came down, I cant remember why he appears. Paul Rothchild said, “Hey. This is Lonnie Mack. He introduced him to Robby. ‘Hey, you wanna play some bass? ‘Id love too, guys. Simple as that. That was a great deal of fun. The album was definitely blues, ‘Raymond Chandler. Downtown Los Angeles. Dalton Trumbo. ‘John Fante. ‘City of Night John Rechy. Q: Then there is the tune “Peace Frog. ” In 1995 you told me for Goldmine magazine, “Blood in the streets in the town of Chicago” is obviously about the 1968 Democratic Convention in Chicago. It was written after the young people rioted against the war, in Vietnam. ” A: Those are great lines. Morrison goes further to say, ‘Blood is the rose of mysterious union/blood will be born in the birth of a nation. So its the idea that blood is the cleansing property, and from blood will come the healing and the enlightenment of the nation. America is what Jim is singing about. ‘Birth of a Nation. Another cinematic reference. Q: In that interview you mentioned you had a class at the UCLA School of Film with director Josef Von Sternberg ( The Blue Angel, Marocco, Shanghai Express) who applauded your student film Evergreen. “Very good Manzarek. Very good. ” You cited his praise as one of the greatest moments of your life, adding that Sternbergs influence was inherent in the way he paced his movies and the psychological weight of his films informed the way you and Jim together wedded a cinema and music mixture. A: Hes the guy who really kind of gave a real sense of darkness to The Doors, not that we wouldnt have been there anyway. But having Von Sternberg seeing the deep psychology of his movies, and the pace at which he paced his films, really influenced Doors songs and Doors music. The film school is always there. Our song structure was based on the cinema. Loud. Soft. Gentle. Violent. A Doors song is again, aural, and aural cinema. We always tried to make pictures in your mind. Your mind ear. You hear pictures with the music itself. Q: During 2007 we talked again about Doors catalog utilized in movies and soundtracks. The film school influence is obvious again, especially on ‘LAmerica on Morrison Hotel. A: It was written for the director Michaelangelo Antonioni for his film Zabriskie Point. And we played it for him at the rehearsal studio and backed him up against the wall with the volume. We played it the way we normally play and too loud for this elderly Italian gentleman. I could see him pressed up against the door trying to get out of the place. We finish the song, he slides the door open and steps outside and it was almost like he was saying, ‘Goodbye boys. Goodbye Hollywood. And then he goes with Pink Floyd. It was all too much for him. He just couldnt do it. Q: Just before the album L. Woman formally began, producer Paul Rothchild leaves the project. A: Yes. He did a great service to us. We played the songs in the studio so Paul could hear what the songs were. First at the rehearsal studio and then over to Elektra. I think we went back to Sunset Sound, too. We were bored. He was bored. We played badly. And Paul said, ‘you know what guys? Theres nothing here I can do. Im done. Youre are gonna have to do it yourselves. And he walked out the door. We looked at each other and said, ‘Shit. Bummer. And Bruce (Botnick) said, ‘Hey, Ill do it! Ill be the producer. John (Densmore) said, ‘Well co-produce with you. Bruce said, ‘Thats a deal. Lets all do it together. And then Jim said, ‘Can we record at our rehearsal studio? And we all said, ‘Hey, we play great at our rehearsal studio. Lets do it. Can it be done? And Bruce said, ‘Of course I can do it there. Ill set the board up and a studio upstairs. You guys record downstairs. Thats where we make the album and it will be virtually live. ‘Yea! And we got excited like that Mickey Rooney and Judy Garland ‘Lets put on a show! “The only thing with Bruce that was really different than working with Paul was that we didnt do as many takes. We knew when we had it. The thing about Rothchild ‘he was a slave driver. Thats not really true. We did do a lot of takes on ‘Unknown Soldier and that drove Robby crazy. Q: And, Jerry Scheff plays bass on L. Woman. A: Botnick brings in a guy who is going to be playing with Elvis Presley. ‘I got Elvis Presley's bass player. ‘Shit, man. He came in. A very cool guy who is playing with Elvis Presley. Q: And, you and Jim just earlier had watched the Elvis Presley 1968 Comeback Special on television. I wrote the liner notes in 2008 for the CD reissue. Elvis is wearing leather on that program. And I believe Jim had his leather pants made on Sunset Blvd. in 1967, 68. A: Yes. We watched it. Elvis puts on his Morrison outfit. He had seen Morrison. He knew what he was doing. Imitating Jim. Q: L. Woman is a logical step from “Morrison Hotel. ” A: I think its the same Doors but a continual growth, continual evolution of The Doors. Continual revolution of The Doors. Q: The title track L. Woman embodies movement, freedom, lust and dust. A: L. Woman is just a fast L. kick-ass freeway driving song in the key of A with barely any chord changes at all. And it just goes. Its like Neal Cassady, Jack Kerouac and Allen Ginsberg heading from L. up to Bakersfield on the 5 Freeway. Lets go, man. Q: The haunting “Riders On The Storm. ” In 1995 you ran down the song to me commenting on that highway and freeway chase depicted. “The storm is an unresolved psyche. We are moving into the Jungian collective unconscious. And those motivations in the collective unconscious are the same in 1976, 1968, 1969 as they are in 1994, 1995. There are needs that we all have on the human planet, and we must satisfy those needs and come to grips with the darkness and the interior of the human psyche. ” A: Its the final classic, man. Interestingly, Robby and Jim come in and were working on ‘Riders On The Storm. And then they start to play it and it sounded like ‘An old cowpoke riding out one dark and misty day. It was like ‘Ghost Riders in The Sky. No. We dont do anything like ‘Ghost Riders In The Sky as much as I like it by Vaughn Monroe. And Jim likes it. Whats next? A version of Frankie Laines ‘Mule Train? Doors dont do that. Lets make this hip. The idea is good. Were going to go out on the desert. ‘Theres a killer on the road. This has got to be dark, strange and moody. Let me see what I can do here. It was like ‘Light My Fire. It just came to me. I got it. The bass line. It became this dark, moody Sunset Strip 1948 jazz joint. Q: And, only Morrison could inject a Hollywood movie studio system reference in the lyric ‘an actor out on loan. A: Yeah. How ‘bout that, man. Q: Every Doors concert was unique. Some specific songs in the set but lots of improv and no set order done every night. A: The concerts were an extension of the audio document. It was not yin and yang. One was an extension of the other. There were improvisations in the recording studio but within their soloing sections. And quite frankly, I never knew what I was going to play. I knew the chord changes. I didnt know how I was going to structure my A minor 7th chord. That would vary from take to take. It would always be an A minor 7 th and in the groove. So there was improvisation in the studio but here was major improvisation live. Because thats the whole point of live. You have the record as your foundation and then you build upon that in the live performance. Harvey Kubernik is the author of 15 books. His literary music anthology Inside Cave Hollywood: The Harvey Kubernik Music InnerViews and InterViews Collection Vol. 1, was published in December 2017, by Cave Hollywood. Kuberniks The Doors Summers Gone was published by Other World Cottage Industries in February 2018. Its been nominated   for the 2019 Association for Recorded Sound Collections   Awards for Excellence in Historical Recorded Sound Research. During November 2018, Sterling/Barnes and Noble published Kuberniks The Story of The Band From Big Pink to the Last Waltz. In 2019, The National Recording Registry at the Library of Congress in Washington, D. C. have asked Harvey Kubernik to pen an essay on the landmark The Band album, now celebrating a 50th anniversary edition in 2019. Harvey Kubernik is currently researching and writing a mult-voice narrative book on Jimi Hendrix for Sterling/Barnes and Noble scheduled for publication last quarter of 2020. Harvey Kuberniks 1995 interview, Berry Gordy: A Conversation With Mr. Motown appears in The Pop, Rock & Soul Reader edited by David Brackett published in 2019 by Oxford University Press. Brackett is a Professor of Musicology in the Schulich School of Music at McGill University in Canada. Harvey joined a distinguished lineup which includes LeRoi Jones, Johnny Otis, Ellen Willis, Nat Hentoff, Jerry Wexler, Jim Delehant, Ralph J. Gleason, Greil Marcus, and Cameron Crowe. Kuberniks 1996 interview with poet/author Allen Ginsberg was published in Conversations With Allen Ginsberg, edited by David Stephen Calonne for the University Press of Mississippi in their 2019 Literary Conversations Series. Harvey is featured in the 2014 book by Jeff Burger on Leonard Cohen Interviews and Encounters for Chicago Review Press. During 2015 the University Press of Mississippi published a Harvey Kubernik interview with D. Pennebaker in their book series, Conversations with Filmmakers, edited by Dr. Keith Beattie. This century Kubernik wrote the liner note booklets to the CD re-releases of Carole Kings Tapestry, Allen Ginsbergs Kaddish, Elvis Presley The 68 Comeback Special and The Ramones End of the Century. During 2019 Kubernik is serving as a Consultant on a new 2-part documentary on the musical legacy of Laurel Canyon. Alison Ellwood is directing the documentary who helmed the authorized History of the Eagles.   Broadcast date is first quarter 2020 on EPIX Television. Feature photo by Henry Diltz.

The moment you watched this it made your day. Admit it. Break on thru a celebration of ray manzarek and the doors. Released 1 hr 7 min Documentary Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing Break on Thru: A Celebration of Ray Manzarek and The Doors near you. ENTER CITY, STATE OR ZIP CODE GO Sign up for a FANALERT and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. Break on Thru: A Celebration of Ray Manzarek and The Doors Synopsis An all-star performance in Los Angeles that John Densmore and Robby Krieger developed. Read Full Synopsis Movie Reviews Presented by Rotten Tomatoes.

The music of The Doors simply wouldnt be as vibrant and powerful were it not for the contributions of keyboardist Ray Manzarek. On Monday, the band announced a new documentary film, Break On Thru (A Celebration of Ray Manzarek) a doc that aims to celebrate the history and legacy of the Doors and Manzarek, with special focus given to the all-star tribute concert that took place at the Fonda Theatre in Hollywood in 2016. #THEDOORS: BREAK ON THRU – A CELEBRATION OF RAY MANZAREK comes to a cinema near you for 1 night only on Feb. 12! A hybrid concert/documentary, it includes conversations with @JimMorrison & Ray + new interviews with @JohnDensmore & Robby Krieger. Tickets: — The Doors ( TheDoors) December 9, 2019 Heres a quick teaser trailer: The film will screen in theaters for one night only on Feb. 12, 2020 in honor of Manzareks birthday. Visit the films official site for ticketing information. The 2016 Fonda Theatre concert featured guest appearances from the likes of Paul McCartney guitarist Brian Ray, Foo Fighters drummer Taylor Hawkins and multi-instrumentalist Rami Jaffee, Robert DeLeo of Stone Temple Pilots, Exene and Jon Doe of X and many more, all coming together to pay their respects to the iconic Manzarek, alongside remaining Doors members John Densmore and Robbie Krieger. Rolling Stone adds that the Break On Thru film highlights the Doors classic music, interjecting behind-the-scenes interviews and footage in Manzareks memory. He passed away in 2013 after a battle with cancer. In related Doors news, a lavish 50th anniversary reissue of 1969s The Soft Parade was recently released — click here to pick up a copy.

Break on thru celebration of ray manzarek and the doors.

 

The doors 3a break on thru- a celebration of ray manzarek tiktok. The two were joined by a couple of surprise guests filling in for the late Jim Morrison on vocals The two surviving members of the Doors gathered an eclectic group of friends and peers Thursday, for a special one-night-only reunion performance at a charity concert in Los Angeles. John Densmore and Robby Krieger were joined on stage by Nirvanas Krist Novoselic on bass for the first-ever “Homeward Bound” concert, a fundraising event for PATH (People Assisting the Read More … Next Thursday, January 23rd, the two surviving members of the Doors — drummer John Densmore and guitarist Robby Krieger — will make a rare appearance together at the Homeward Bound charity concert at the Wiltern in Los Angeles. Its been a couple of years since the pair last took the stage together, and one week out, Densmore admits to Rolling Stone that he and Krieger have yet to finalize a setlist — or even rehearse. [Read the entire article at Read More … FOURTH ANNUAL “DAY OF THE DOORS” TO TAKE PLACE AT THE ORIGINAL MORRISON HOTEL IN LOS ANGELES ON JANUARY 4, 2020 FAÇADE OF HOTEL TO BE RESTORED TO AN EXACT REPLICA OF THE ORIGINAL MORRISON HOTEL ALBUM COVER ROBBY KRIEGER TO PERFORM AND SPECIAL GUESTS TO BE ANNOUNCED Read more about The Day Of The Doors 2020 here! Robby Krieger and John Densmore are scheduled to perform a special acoustic performance at The Wiltern for Homeward Bound, alongside Jason Mraz, Fitz and the Tantrums, Phillip Phillips, and many others. For more information – head to the Homeward Bound Concert Website. The Doors have announced a new concert documentary to honor the legacy of late keyboardist Ray Manzarek. The Doors: Break on Thru – A Celebration of Ray Manzarek will premiere in theaters around the world in a one-night only event on February 12th, which would have been Manzareks birthday. Tickets can be found at  To read the entire Rolling Stone article – click here. Read the whole article at Rolling Stone. When the Doors producer, Paul A. Rothchild, suggested adding orchestral strings and horns to guitarist Robby Kriegers song “Touch Me, ” Krieger was not happy. It was two years after Sgt. Pepper, and he says he was wary of the band being seen as copycats. “I said, ‘Oh, God. Now were copying the Beatles, and the Stones had just done their version of the orchestra thing, ” he recalls. Read More … The Doors fourth studio album, The Soft Parade, became the bands fourth straight Top Ten album when it was released 50 years ago today on July 18, 1969. Despite featuring one of the groups biggest hits – “Touch Me” – it remains the most-polarizing record of The Doors career thanks to the brass and string arrangements that embellish several tracks. To commemorate the albums 50th year anniversary, Rhino reimagines The Read More … Rialto Pictures has restored Oliver Stones powerful music portrait “The Doors” in 4K Dolby Atmos, and is screening the release in select theaters through August 2019. Click here to check out the The Doors: The Final Cut at Rialto Pictures website! Recordings from The Doors first live concerts ever will be available on Black Vinyl for Record Store Day, April 2019. The limited-edition 10″ vinyl will be numbered. To find a participating store near you, please visit The final studio album by the Doors, originally released November 1978, is to be released as a 40th Anniversary edition (almost to the day) for Record Store Day Black Friday 2018. Seven years after Jim Morrison died, and five years after the remaining members of the band broke up, Ray Manzarek, Robby Krieger and John Densmore reunited and recorded backing tracks over Morrisons poetry (originally recorded in 1969-1970. This numbered, Read More … Post navigation.

COMING SOON OPENS in 8 days, February 12 The Doors: Break on Thru - A Celebration of Ray Manzarek THE DOORS: BREAK ON THRU – A CELEBRATION OF RAY MANZAREK is a hybrid concert and documentary capturing a 2016 performance in Los Angeles, CA by surviving Doors members John Densmore and Robby Krieger to honor fellow Doors member Ray Manzarek on what would have been his birthday on February 12 th. The Doors were born when Ray Manzarek met Jim Morrison on Venice Beach in 1965. Ray became the beating heart of The Doors and the architect of their intoxicating keyboard sound. Manzareks evocative playing fused rock, jazz, blues, bossa nova and an array of other styles into something utterly, dazzlingly new.  The setlist from the concert consists of Doors songs performed by John and Robby alongside a cast of all-star guest musicians including Taylor Hawkins and Rami Jaffee (Foo Fighters) Robert DeLeo (Stone Temple Pilots) Stephen Perkins (Janes Addiction) Exene and John Doe (X) Warren Haynes (Govt Mule) Brian Ray (Paul McCartney) Andrew Watt and more. The film also includes rare archival footage of the band, conversations with Jim Morrison and Ray Manzarek, and esteemed music journalist Ben Fong-Torres, as well as new interviews with John and Robby. Not Rated Genre Music, Rock and Roll, Bio-pic, Pop Culture, Los Angeles Producer John Densmore, Robby Krieger, Jeff Jampol Cast Taylor Hawkins, Rami Jaffe, Robert DeLeo, Stephen Perkins, John Doe, Exene Cervenka, Warren Haynes.

The doors 3a break on thru- a celebration of ray manzarek design