Published in the Guitar & Keyboards
July 1995

The republication CD of the posthumous album "Year American Prayer" (remasterized and increased of three small no-claims bonus tracks), gives the opportunity to us to lengthily meet Ray Manzarek, claverist of Doors and spokesman of the group since the premature disappearance of Big Jim.

More known for its travelling escapades, its vice, its orgies, its songs and its cries of revolt that for its tortured poems intimists, visionaries and, Jim Morrison - known as "King Lézard" - belongs to the legend of the rock'n'roll, meteor mown in full glory with the image of a fragile and vénéreuse flower. But, behind the mirror of drinking bouts to repetition, uninterrupted coituses and voyages to the long court with mescaline, the heart of a poet sensitive and touched by the grace hid. Inspired of The Doors Of Perception (test of the British novelist Aldous Huxley which treated its experiments hallucinogens and whose title was puffed up by the poetry of William Blake), the name of Doors left by definition a large door open on the universe of the worms. As of 68, Morrison publishes a first collection of poems, The New Creatures. The following year and in spite of a semi-failure, it repeats with The Lords like Ode To L.A. While Thinking Of Brian Jones, Deceased, printed sheet distributed at the time of concerts of Doors which followed the death of Brain Jones. Lastly, in 70, Jim publishes An American Prayer on account of author, in drawn private edition with two hundred specimens. He records this last poem (like much of others) the day of his twenty-seventh anniversary and dies a few months later. Since, the three Doors survivors put in music certain extracted the last recordings of Morrison, not hesitating to devote themselves to an often doubtful butchery, to add a live version of Roadhouse Blues, the whole intersected with bits of The Unknown Soldier, Peace Frog, The Wasp, Riders One The Storm, etc. Result, a quite curious joining, more than one great takeoff. Irony of the fate, a few days before dying, Jim spends one day in a Parisian studio in order to réécouter the bands of its poems recorded.

Twenty-four YEARS IN JULY THAT JIM MORRISON DEAD EAST. AND DOORS WITH HIM AT LEAST THOSE WHICH ONE LIKES AND KNOWS. WHEREAS ARISE OUT OF CD "YEAR AMERICAN PRAYER" AND SEVERAL ALBUMS OF The GROUP, REPUBLICATIONS PROBABLY PRECEDING A TITANIC BOX WITH NEWS AND ALL AND ALL, ROBBY KRIEGER AND RAY MANZAREK EVOKE THEIR VERSIONS Of ONE OF The MOST ATTRACTIVE EPISODES OF ROCK'N'ROLL ' ROLL.

Soaked well, it decides to take the air and meets two anonymous musicians of street which it invites to join it in studio the time of a chaotic ox. Under the nickname of Jomo & The Smoothies, the three small drainage canals after a fashion massacre Little Miss Five Feet Five, Three Little Fishes, I wanna Dance With My Indigo Sugar and Orange County Suite in an amnesic version having nothing to do with that recorded by Jim, only with the piano. The bands turn, for the greatest happiness of the bootleggers...

RAY MANZAREK

When and how you decided to compose and record the instrumental ones on the poems of Morrison into 78?

Ray Manzarek : The history of Year American Prayer begins on December 8 70, when Jim decided to record poems that he had written. It was the day of its twenty-seventh anniversary, unfortunately the last on this planet, hardly a few months before he does not die here in Paris. It wished to enter in studio, in Los Angeles, and to record many poems on four-tracks, as if it had a kind of premonition. Who knows what it knew... Its goal was to record an album collection of poems, it spent besides the last years of its life to work out a work primarily based on poetry. It had published The Lords And The New Creatures, delivers which had obtained only one confidential success at the time, and it wished to accentuate its step by engraving an album of poems read. But, beyond the words, it considered this project with sound effects, of the sound environments and the music. It died on July 3 71 and, four years later, into 75, Robby Krieger told me "Hey, if we listen to these bands that Jim recorded the day of his anniversary, history to see whether we could not add music and leave this album poetry for Jim! . "Robby, John Densmore and myself we sat and we listened to the bands of Jim. We found them excellent and we decided to complete them by juxtaposing music there, because there was only the voice of Jim. We absolutely held so that the memory of Jim is recognized and celebrated as a poet. We put ourselves at work between 75 and 76, and we needed much time to carry out this project. The album was finished into 78, date on which it east left, but unfortunately, we were in full era disco music, people swore only by "Saturday Night Fever" and Travolta, it was the worst moment to publish an album of spoken poetry "Year American Prayer" did not have any success.

Did you never have the feeling of jammer with a phantom when you recorded music on poems read by Jim?

Ray Manzarek : If... It is an interesting question... But you know, each time we recorded an album with Doors, Jim was isolated in a cabin from the studio to make his vocal parts. We were all the three in the same part, with the return of its voice to the helmet, and we could never see it singing the piece which we were recording. When we entered in studio, to three, to record "Year American Prayer", it was exactly the same thing. Jim sang in the helmet, with the only difference which its voice came from a tape recorder. When a catch was good, one said "OK, one keeps it! You come to naturally listen to it in the control room... ", Jim did not join us as it was accustomed to doing it of alive sound, but it was as if it were there, recording with us. We felt the atmosphere of his presence, its electricity, and we perceived his energy. I do not know if one can speak "to play with a phantom" but we built all the album on the energy of Jim.

There was several poem sung (makes songs quite simply of them...), like splendid Orange County Suite, Bird Of Prey (only A to be reproduced on CD in no-claims bonus track), Under Waterfall, Winter Photography, Whiskey Mystics And Men or Woman In The Window. Are some accompanied with the piano, I suppose that it is Jim who held the instrument?

Ray Manzarek : Yes, yes. These sung poems were songs in gestation. What is interesting, it is that we added Bird Of Prey on CD, so that people can hear and include/understand how Jim sang his songs in Doors before the group do not record them. Thus it always presented them to us. This process goes up with our first meeting, when we made knowledge on the beach of Venice and that it fredonné me Moonlight Drive. Bird Of Prey reveals the same voice and the same style that at the very first day, it is Jim Morrison such as in him even.

To was your opinion, these recorded poems, sung, sometimes harmonized, intended for an album of Doors or Jim it recorded the model of its first album solo?

Ray Manzarek : (Very embarrassed, NDR). I believe... I think... heu... in fact... That was not nothing the whole at the time! ("It wasn' T really anything At that time! "You speak... NDR). We were about to be ready (sic) for enregsitrer "L.A. Woman" (at that time, everyone sought Jim everywhere and the meetings were differed on several occasions fault of having it under the hand, NDR), and I think that at this time, Jim entered in studio right to put his poems on tapes. I do not believe that it had a very concrete idea of what it wanted to do, it simply seized the advisability of being able to put order in his texts and put myself at any lira to preserve a trace of it. Noublions not that, six months later, he had died.

Wasn't this republication CD the occasion dreamed to add more no-claims bonus tracks?

 

Ray Manzarek : We thought of it, but I am persuaded that the majority of people do not even know "Year American Prayer". If we had added other titles, that would have given a completely different album and nobody would have included/understood. Ask around you if one knows the album of poetry of Jim, the answer is generally "Not"... "Year American Prayer" lasts more than forty minutes, there are enormously things to listen and discover, instead of all to mix while adding thirty minutes of new material, we preferred to put three small no-claims bonus track so that it is not too indigestible for the spirit. I did not want that the listening of the album causes a mental tiredness at the listener.

Do you think that these news have a chance to be published one day?

Ray Manzarek : Of course, probably at the time of the box which we prepare. We have the masters of all these titles. We also have other news of first order, like Days Of The Week, for example. It is about a very funny piece, an impromptu kind of éphéméride during which Jim has fun with each day of the week of the style "Monday! Mounds, the mound of Venus... "sexual Reference ("the mount of Come", NDR)"Tuesday! The most insignificant day of the week "and so on. There is also a superb version jazzy of Queen Of The Highway, but I all will not reveal... I have the firm intention to gather the whole of this material in the box of Doors which should leave from here one or two years. But for the moment, one concentrates over "Year American Parayer". Then, we will take holidays and we will work on the box later. Each thing in its time.

You said that the idea of Year American Prayer was to introduce Jim as a poet telling his work. In this case, why to have included a live version of Roadhouse Blues right in the middle of the album?

Ray Manzarek: because she represents public life of Jim!  The album starts with an evocation of the childhood of Morrison, " Awake, shake dreams from your hair ", To Come Of Acts follows this exploration, then comes The Poet's Dreams, and we pass to public life of Jim with Roadhouse Blues interpreted on scene.  There, it is a matter to present Morrison within the Doors, Morrison rock'n'roll rock'n'roll rock'n'roll' rock'n'roll star! 

This picture of sex symbol and of rock'n'roll rock'n'roll rock'n'roll' rock'n'roll star not him did she stick to the skin by accident?  Do not think you that Jim was before all a poet, that the rock one and the song constituted the better vector to the era to express its texts and to present them? 

Ray Manzarek: completely, Jim liked the poetry beyond the rock'n'roll rock'n'roll rock'n'roll' rock'n'roll.  The basic reason of the formation of the Doors was our encounter on this beach, when it read me its texts.  I was said that a lot more than of rock'n'roll rock'n'roll rock'n'roll' rock'n'roll, it was a poetry matter pure and this is that that incited me to be founded the group.  I realized that one could inject poetry to the rock'n'roll rock'n'roll rock'n'roll' rock'n'roll as the beatniks had done it with the jazz.  This that is extraordinary with the rock'n'roll rock'n'roll rock'n'roll' rock'n'roll of the years 60, this is that one freely could adapt it to all music form.  We played the flamenco on Spanish Caravan, adapted airs of the years 30 composites by Berthold Brecht and Kurt Weill (Alabama Song, Mac The Knife, NDR), one all could do, cabaret songs, blues, jazz etc.  The harbors of the rock'n'roll rock'n'roll rock'n'roll' rock'n'roll were at the big open eras. 

At the beginning of interview, you speak " of a premonition sort ".  Now, this that is disrupting to the listens last poems of Jim, this is that the death is present of an end to the other, as if it was perfectly conscious of this that was going to arrive.  How do you explain this premonitory intuition? 

Ray Manzarek: I have no special explanation.  All that I know, this is that at the time of our first encounter on the beach, before the group does not exist and that John and Robby do not rejoin us, we had sat and, suddenly, Jim wonders me: " how much time do you believe that you will live?  " I was said " Wooh… " and I amounted a year at random.  I replied for him: " to 87!  " And it was said me: " Not me, man.  I see myself as a star spinning.  I vais…boom!  Soar to the more top of the skies and explode.  Everyone will do " Aaaah…Regardez!!!  " And all will be finished, I will have left.  " IT WAS a strange moment.  Jim was all young one, one talked about the group that one wanted climb, the Californian sun flooded the beach and here that it begins speaking thus to the beautiful environment of the conversation, as early as the beginning of our aventure…Je believes that it had to feel something and that this fine December 8 1970, it was said: " I will offer myself a birthday gift, I will record my The luck to be able to do it.  "

" Year American Prayer " is it a épitaphe? 

Ray Manzarek: Well…c' is a little difficult to talk about épitaphe.  Jim always is living for us.  When I listen its texts, I remember to hear it them to declaim in recording studio, I review myself with the return of the helmet in the ears.  His body is not anymore there, but his energy is present, through its words, his voice, its chansons…Il is not actually dead.  Not for me, or for John, or for Robby.  It always is living, here his poetry album, here its last histories.  If it had returned from Paris, we probably very quickly would have recorded a based album on these texts.  But never having returned in America, " Year American Prayer " is his last disc. 

About Paris, which your point of saw on the precise circumstances of his disappearance? 

Ray Manzarek: that this is a very good question.  I not in have no idea.  I some discussed with several French persons present the day of his death.  I asked for them this that it was passed exactly and every version of the facts east different.  Each relates his history and no not concord.  Some say that it went to the " Rock'n'roll Rock'n'roll Rock'n'roll' Rock'n'roll Circus " (parisian club, NDR), of others add that it is dead and that the body was transported.  There is those that assert that it went to the " Rock'n'roll Rock'n'roll Rock'n'roll' Rock'n'roll Circus " to supply itself in héroïne.  Of others again claim that all that is false and that it is dead while taking a bath, " Marianne Faithfull was present ", " No, she did not be with him that day ", " If she was there "…

Marianne Faithfull?  To Paris with Jim Morrison the day of his death? 

Ray Manzarek: You do not know this version?  There is all a salad with her, as what she would be implied in the history.  I heard so versions that I know more that to believe, or to what some to hold me. 

A last question before to leave us: there is close to 20 years, shed itself the rumor of an eventual formation of the Doors with Pop Iggy to the song, Of what itself did it act exactly? 

Ray Manzarek: It in was effectively question, but that did not never do itself.  Iggy has just sung pieces of the Doors with me to the organ to the Whiskey HAS Go Go July 3 1975, but or John Densmore, or Robby Krieger did not be present.  Damage, for I am sure that the Doors with Pop Iggy would have been an interesting experience!  Imagine the delirium… (" Hey the guys!  What does one do?  I's Wanna Be Your Lizard or The Celebration Of The Dog?  "…NDR.)  On the other hand, we played with Eddie Vedder (screaming monkey of Pearl Jam, NDR) to the occasion of the Rock'n'roll Rock'n'Roll Rock'n'roll' Rock'n'roll Lobby Of Fame.  It was the kind of big evening where everyone takes out the smokings and shakes the jewels, and we have them bastonné Station wagon One Through, Roadhouse Blues and Light My Fire, ah! ah! ah!  Eddie assured as a denial and one is oneself well laughed! 

ROBBY KRIEGER

Robby Krieger opens us the harbors of his memory for an exclusive discussion, complete panorama of six years of madness and as much of timeless albums. 

" Not easy to live with Jim.  " Robby Krieger evokes the past days as a guitarist Doors and talks about his creative role alongside one of the bigger singers, paroliers, sex-symbols and extreme personalities of the history of the Rock one, Jim Morrison.  " Which foot that would have been to have a normal type as Sting, someone of talentueux that would not have needed to pass every second of his existence some balances on the wire of a razor separating the life of the death.  " The guitarist laughs of its mischievous matters, knowing pertinemment and better than whoever than this are exactly the internal demons of Morrison, those that done surfaces so frequently, that gave to the music of the Doors as much of resonance and of strength.  But, the fact that Morrison was without any doubt the more visionary bigger rock planet do not must conceal the considerable provision of the three other members of the group to the music and to the unique sound that did the success of the Doors.  To strong basis of blues, the music often hypnotique created by Krieger to the guitar, Ray Manzarek to the organ and John Densmore to the battery, completed perfectly the wild texts and the sensual vocal parties to wish of Big Jim.  Besides, it was most often Krieger that composed the better songs and the biggest successes of the Doors.  Let us quote for example Light My Fire, Coils Me Two Times, or again Touch Me. 

When Krieger rejoins the group in 65, it has only eighteen years, plays the guitar since two years and is passed to the electric one since to pains six months.  " I really learned to play the guitar with the Doors, does it assert, I always tried to obtain my clean one his, forbidding me wildly to copy the plans of Chuck Berry or B.B.  King, because to the era, everyone did it.  I wanted to bring on the part of guitar sticking with our songs, supplementary to the song of Jim.  And that walked, we did a wonderful work.  "

Wonderful, it is certain.  To the point that the group fût intronisé to the Rock'n'roll Rock'N'Roll Rock'n'roll' Rock'n'roll Lobby Of Fame in January 94 and that oliver Stone realized a film on the group, The Doors, in 91.  At last, beyond the homages and honors, the music of the Doors crossed three decades without losing a wrinkle, draining generations of fans always younger and more numerous.  Krieger cannot avoid his passed with the Doors, even if the group is practically dead in 1971, when Jim passed the harbors in the inverse direction.  Well that it always knew to remain active while recording albums to instrumental dominance and while turning through the world, Krieger is forced to note: " I very quickly realized that I never would have more the occasion to play with a group as the Doors.  The music became for me a pass sort times, as painted to relax, by pleasure.  This this that I did currently and that identifies me, I am: Robby Krieger, guitarist.  " A lot of people would add " Doors ".  The interview that follows redraws, album by album - of " The Doors " in 1967 to " THE.  Woman " in 1971-, the fantastic saga of an as fleeting one as essential group, seen interior by the one that, on six ropes, harmonized the substantifique moelle spat by the disturbed soul of a star spinning and protéiforme, current Morrison. 

" The Doors " appeared in January 67 Which impression Jim Morrison he done you at the time of your first encounter? 

Robby Krieger: I made his acquaintance when it came at my place in company of John Densmore, it seemed completely normal.  I not nothing revealed of special at his place, even the moment we finished our first repetition.  All was very well passed itself, and here that a type itself not at all and asks to see Jim Morrison.  There had been a questionable business on a plan of dopes and Jim began bursting the leads at one go.  It was outside him, furious crazy.  I was said: " My God, those guys completely frosts over.  "

And Ray Manzarek? 

Robby Krieger: The first time that I saw it, it reigned in master on the campus of the ucla, university that prepared us to the trades of the movie.  Indeed, we gave our first concert with the intention of to furnish a musical support for the film of one of the students of Ray.  Next, Ray brought up to the tribune of a full public studio to crack and did a long speech.  I myself in remembers perfectly, because it put himself the public studio in the pocket with a disconcerting ease.  It literally enchanted the public.  It was a very strong personality, but Jim was anxious it distance and knew to put back it to his place.  Jim so was blocked in his kind that it crushed the personality of Ray, this that, strangely, created a good counterweight. 

Of your side, you already were the calm guy fitting between two forces of the nature? 

Robby Krieger: Well… to have to deal with Jim changed me, in the measure where, me also, I was rather crazy.  I was the first one of my class to take acid and I had not my similar one to induce the others.  Then I was part of the Doors, I could not hold the candle to Jim and to Ray…(Rires.)  I already had expérimenté the acid and I meditated a lot to the era of the formation of the Doors.  Besides, I met John Densmore at the time of a meditation meeting.  I had softened myself, it is certain. 

This that did not prevent the Doors to do to turn itself Whiskey HAS go-go because of The End. 

Robby Krieger: One has tendence to exaggerate a little this history.  The incident took excessive proportions.  There was effectively scuffles with the taulier that put us outsides, but his decision did not be irrevocable, since we replayed in the club after this disagreement. 

Today, the " antics " of Jim have myth row.  Were They taken for déconnade to the era? 

Robby Krieger: You talk about a déconnade!  We had this group of which knew us that it possessed the potential adequate one to become something huge, and Jim spent his time to all to sabotage, never spoiling an occasion to screw the brothel.  One decided of all to make fun themselves to repeat and Jim did not come.  A telephone call of Blythe, Arizona, we warned that it was in taule. 

Nevertheless, you were productive étonnamment.  You published six albums studio between 67 and 71.  The work methods of Jim were she so bad that that? 

Robby Krieger: No, the music was his alone reason to live.  It was very often in the office that used us Q.G (general neighborhood) while we did not there be.  It there lived even sometimes.  We had all a private life outside of the Doors, not him.  It some wanted us a little, it lived the Doors twenty-four hours on twenty-four and we refused to immerse us to this point.  But this is him that had reason.  That says, recording sessions royally did it to dump.  We passions of the unending hours to loaf while awaiting that the engineer finds a voucher his of battery or rule such or such instrument, I could not accuse Jim to become completely crazy in studio.  Of more, our producer, Paul Rothchild (deceased just before the summer NDR), was kind perfectionist. 

By the way, which was the importance of his role? 

Robby Krieger: that depended on albums that we recorded.  For the first one, Paul has just connected a microphone before disappearing.  On the other hand, we at last had obtained a decent budget for " Strange Days " and Paul completely invested itself in the sound.  The meetings of the first album were really chaotic, for were unaware of us totally to what that was going to resemble.  For example, we were were disgusted of not to be able to play as strong as we wished it. 

From which this abandonment impression total in the manner of which play you? 

Robby Krieger: THIS is equally had to the fact that we played these songs since so a long time that they had had the time to cool.  All the first album was put in can in a taken one, two taken maxima. 

Your version of Back Door Man is really very effective.  You asked yourself the knowledge question even where you could be faithful to the original one before to record it? 

Robby Krieger: No, for the simple reason that we did not be sufficiently good musicians to reproduce the original one faithfully.  Of more, we knew than Jim never would not have sung it in the spirit of the original one, we have therefore preferred to adapt it to our sauce. 

During years, few people knew that it was you that had written and composed Light My Fire.  All changed when, in the film The Doors, Oliver Stone put an honor point to explain the evolution of this song.  The things themselves are they passed also simply as in the film, to know as you have gone out a paper end crumpled of your pocket to offer it to the three other Doors? 

Robby Krieger: (Laugh) THIS IS almost that.  Jim had written the entirety of the songs of the first album and, a day, we realized that it lacked us a title.  It said us: " Hey the guys!  Why not to try of you there to put?  " I wrote Light My Fire in the night and I brought it to the work meeting of the next day.  The fact that this scene appears in the oliver film Stone is my idea.  I there held absolutely for that has me always screwed-up the balls of not to be recognized in so songwriter of Light My Fire. 

The solo of Light My Fire is the an of your guitaristic benefits the most luminous ones.  Do not THIS frustrating that it is amputated in the appeared version in 45T? 

Robby Krieger: a little… did not want Us him to amputate, but our first single, Station wagon One Through, fit a total flop and the radio stations were unanimous to say us that Light My Fire would do a box if we went out it in 45T.  We had not the choice, the FM had very few impact to the era, and to pass on the waves AM it was necessary the songs to be short length. 

The solo of Light My Fire were it improvised in studio? 

Robby Krieger: IT WAS the solo kind that I was used to do, but in a manner different every evening.  To be frank, the one that figures on the album is not this that I did better.  I had not straight that to two essays.  But it is not so poorly that that, I myself some am rather well pulled. 

Which remember keep you sessions of the first album? 

Robby Krieger: Oh, there is the fine anecdote on the subject of the recording of The End.  Our engineer of the sound, Bruce Botnick, had brought a téléviseur in studio, in order to be able to look at " World Series ".  Jim, that had devoured enormously acid, judged that a program of baseball did not suit particularly to the mood that it tried to create on The End.  That very quickly took for him to the head and it balanced the screwed-up téléviseur through the pane of the check room, this that did not escape person…(Rires.)  I remember equally Jim, sat at table to the snack-bar of the studio and declaiming some curls " Fuck your mother, kill your father!  This is this that it is necessary to do.  Kiss your mother, kills your father!  " And we: " Ouais, Jim, have you reason, but it is necessary to record it, if you were going to sing it… " One finished by to bring back it in telephone booth for two taken ones and one engraved the matter.  One thanked the Lord, because we knew that, seen the state of Jim, it there would not have had a lot of taken…

The first album it completely was recorded live? 

Robby Krieger: No.  Jim accompanied us always to the song, but one never kept voice guides.  The End was the exception that confirms the rule.  I think that the version studio of The End does not arrive to the ankle of all the one that we were able to play on scene.  All the songs of the first album are only the squellette of this that we could some to face the public.  That results from the studio inexperience that we had at the era and extreme rapidity with which it was necessary to record this disc.  I believe also as the studios are nature to limit the work of the musicians.  One cannot reproduce the sound of big cing amplifiers on a small band end. 

Not at all never thought you which the does not to have bass player within the Doors could appear strange? 

Robby Krieger: Constantly.  That did not stop us turlupiner.  One wanted to engage a bass player, one some auditioned someone, but one never found someone that do the matter.  Today, I some am rather happy, because the sound of the Doors widely resulted the fact that Ray was obliged to play the lines of low one simplified on the engrave of his keyboard, this that gave this vibration hypnotique to our music.  On the other hand, this absence of bass player considerably influenced on my guitar game, in the measure or I was obliged by far to play in the engrave to fill emptiness.  The fact that there was not rhythmic guitarist equally modified my game and my sound.  And, naturally, I took all the solos.  So well that I always had the impression to carry out the work of three musicians at the same time. 

Your all first composition, Light My Fire, directly was number one.  This so sudden success not you did it bring up to the head? 

Robby Krieger: This was not so sudden that that.  For us, this was even an eternity.  We were founded the group in 1965 and it not himself nothing passed for two years.  One became crazy.  Finally, after to have done to throw itself by everyone, Elektra signed us.  Our first single sprawled itself in beauty and it was necessary to await again six additional months before Light My Fire does not unhook the timbale.  All that appeared for us very long and we had the impression to be vétérans. 

You already used your habitual equipment, notably your famous SG? 

Robby Krieger: Yes, well that the first red guitar on which I played was a Melody Maker.  I possessed several red SG at first of the Doors, all these guitars were flown or lost with the passing of the years.  As for the amplifiers, I used essentially a Twin Reverb, especially in studio. 

You were about to to give your agreement for that Light My Fire is used for a car pub, until Jim do to collapse the project while putting his veto.  Do you think that it took the good decision? 

Robby Krieger: Oh yes, absolutely.  Indeed, our political one consist in to refuse systematically all substantial offer of the kind, and they did not lack.  I am the first one to hate these groups that sell their songs to the advertising ones, and when a big brand is very interested in your music, this is that you became famous and that you have not actually money need that one proposes you.  It there has not therefore no excuse. 

" STRANGE DAYS " November 1967

At the time of his gone out, your second album sharply was attacked by the critic that cria to the repeated first album.  Do you think that these accusations were been founded? 

Robby Krieger: Only on a point.  I recognize that there is a similitude between When The Music's Over and The End in terms of length and of structure.  But good, and then?  When a thing works, normal it seem to me to remake it.  Of more, When The Music's Over is an of my favorite pieces. 

Nevertheless, the poetic narrative of Jim on When The Music's Over not as interesting as the one of The End. 

Robby Krieger: it is just.  But how to surpass a piece as The End?  What that remains once one kissed his mother and killed his father?  (Laugh.)  The reason When The Music's Over is my lucky song is anxious my solo.  I think that this is the better solo than I was able to record. 

This solo is constituted of two played solos simultanément, the have you both of them improvised on-it-field? 

Robby Krieger: Practically.  Indeed, I never was able to remake them.  This solo was a true challenge because the harmony is static.  I must hold the same riff on fifty-six bars, this that did not be evident.  It is a lot easier one to play a theme on a progression agreed interesting.  We were a question of go out it for had completely impregnated us of this pioneer of the modal jazz that was John Coltrane and that carried out brilliant solos on static harmonies and progressions agreed minimal.  I always tried to play and to ring as him, c'est-à-dire completely side issue at the level of the tonalités.  I consider When The Music's Over as my attempt more resulted and the nearest one in this domain. 

You recorded "Strange Days" less than a years after "The Doors", Elektra put you the maximum pressure? 

Robby Krieger: not at all, we were fine near.  We had tons of songs some reserves for the two first albums.  The pressure came only from the third album.  We met again at runs song and Jim was completely destroyed by alcohol.  It became very difficult to write with him, this that explains that I began writing a lot of pieces for the group.  We tested equally a lot of difficulties to write in turned, which means that one began composing more and more in studio. 

People Are Strange contains a superb progression agreed, this is you that the composed? 

Robby Krieger: Yes.  Jim came at my place an evening, to Laurel Canyon, and it was in an of its big suicidal and medicinal moods.  To appease it, John said for him: " Go Jim comes!  Will look at to put to bed it sun, that will remove you your black ideas.  " Climbed Us to the summit of Laurel Canyon and the view was unbelievably beautiful.  We were looking at the sun descend, illuminating the crest of the clouds of all sound brightness and Jim completely changed mood.  It shouted " Wow!  Now I know why I felt so poorly.  This is because if you are strange, the people are strange.  " And it began writing the words of the song on the spot.  I found the music and we took back down hill. 

How itself does it that Moonlight Drives be not the first song of which wrote you the music and the first song that you recorded for " The Doors "?  (Well that she have seal meets it on the beach of Venice between Morrison and Manzarek, Moonlight Drives is appeared only on " Strange Days ", NDR). 

Robby Krieger: This did not be exactly the first song of the Doors, but the second.  The first one was Indian Summer.  In regards to Moonlight Drives, we judged that the recorded version at the time of the sessions of the first album did not be rather good, we have therefore decided to oust it of " The Doors " and to rework it later.  We never succeeded putting back the hand on the band master, and we have due réenregistrer the piece completely.  It appears that one would have rediscovered the track of this master, I wish that it in itself thus, because I always found this first version excellente.  She was very different of the one appeared on " Strange Days ", a lot darker and uglier back, completely haunted. 

Do you have of strange one remember sessions of " Strange Days "? 

Robby Krieger: once, we prepared ourselves to leave the studio for the night and Jim refused to leave under pretext that it felt in big form.  It said us to want to do music all night long, but we all had burst and we had only a craving, return at our place.  Jim finally took out with us, but a half an hour later, it went back over its steps, climbed the gate, penetrated in the studio by effraction and began splashing the piano with the foams fire fire extinguisher.  A surprise awaited us the next day morning…(Rires.) 

Were You there when it recorded Horse Latitudes? 

Robby Krieger: completely, it said us that it wanted to read a poem and that it wanted a sonorous one very strange accompaniment.  There was all these instruments that littered the studio and originated of an orchestra session, harpsichords, pianos, timpanis, etc.  One began typing over, some tapped inside the pianos and a dozen persons yelled to full lungs.  Once this organized recorded vacarme, Jim read his poem.  The thing more funny, this is than we were listening the bands to melts while Jim balanced his text, and that itself not at all? 

The guys of the Jefferson Airplane!  Broken to the more top not at all, that goes without saying, and here they are that we look at dumbfound, the bulging eyes, thinking than one had become completely crazy.  We remained imperturbable and we said for them the most naturally world " Oh, you know, this is an of our new songs.  " (Laugh.) 

You were pals with the airplane? 

Robby Krieger: in a way.  We often divided the even post, but we led rarely together.  It there always had a competition sort between we to know which of the two groups was going to break the shack on scene.  Besides, go out with of other musicians did not be really in our habits.  Alone Van Morrison was of our turned ones when it came in city and, occasionally, one see the Buffalo Springfield.  We did not be very near of the groups of Frisco usually and Grateful Dead in particular, for they had refused to lend us their amplifiers an evening.  We had given a concert to the High School of Beverly Hills an afternoon with the Dead to the even programs.  We had decided to leave our matos to Beverly Hills, thinking that the members of the Dead, thing running between the groups to the era, we would lend their amplifiers.  Lack bowl, they never wanted and I finished by to connect me on a Pignose or a ridiculous thing of the kind.  Ray was astonished that Pigpen (clavériste of the Dead, NDR) refuses to leave it to use his organ.  It did not stop fulminating " Pigpen?  A guy that is called Pigpen does not want Me to play on his instrument?  " It believed to dream. 

" Waiting For The Sun " August 1968

It seems that the Doors crossed a passage to empties at the level of the creation of the third album and that you underwent enormously pressure.  That does not bother you to see someone to identify itself to a person of which lived you self-destruction? 

Robby Krieger: Completely.  I always say to the people: " do not dive in the alcohol under pretext that Jim drank as a crazy one, it was an error.  This is even this that the has screwed-up in the air.  " IF IT had not drunk as much, it would be writing a song in this moment. 

His propensity to consume alcohol itself she considerably was worsened the moment you recorded " Waiting For The Sun "? 

Robby Krieger: Definitively, this is besides to this period that it became alcoholic.  Before, it took things more or less goods.  The LSD did not put any problem, because that favored the creation (this is not no more pains it to take it out on the breakfast of Syd Barrett to Eric Burdon while going through David Crosby, Peter Green or Vince Taylor, how much remained irretrievable blocked?  NDR.)  It not at all there has nothing of voucher in alcohol, that shoots you the mental one, final.  Of course, at first that relaxes, this that probably is that of which one needs after to have done eight zillions of trips under acid.  (Laugh.) 

Hello I'S Coils You was number 1 and " Waiting For The Sun " was ahead in head of the charts, this success he has you helped to overcome your passage to empties? 

Robby Krieger: This was precious even an assistance.  We were about to to leave in turned when Hello I'S Coils You attained the first place of hits parade and this was our salvage spare tire.  Most of the people believe that we pumped the theme of Hello I'S Coils You on All Day Of The Night of the Kinks (without jokes?  NDR), but we were at thousand lieues to think about them.  The alone thing " borrowed " was the battery beat.  I asked John to play a similar plan to the one of Sunshine Of Your Coils, we pillaged Cream, not the Kinks. 

Which kind of memories inspire you the sessions of " Waiting… "? 

Robby Krieger: OF HORRIBLE ones remember.  To the era, Jim had done to put itself the grappin over by all a band of branleurs pochetronés in the morning to evenings.  It brought them in studio, this that returned Paul Rothchild furious crazy.  All these holes of the bottom, stuffed as donkeys, led in all the corners, déconnaient with the echo rooms and peed does not import where, in the placards preferably, it was a true brothel.  Jim drank with does not import that because that one refused to drink with him.  It hung around with these shits that used it - " Hey, one is pals with Jimbo!  " -, But that did not take no care of him, that not at all realized to which it screwed himself in the air and that did not hesitate to abandon it dead drunk on an any bearing, bathing in his clean one stacks. 

" The Soft Parades " January 1969

" The Soft Parades " behaves several songs of which the orchestrations and arrangements are very complex.  You felt obliged to go in this direction because of the Beatles? 

Robby Krieger: Yes, totally.  To this era, we had all interests to do with the Beatles!  But to be frank, I hated to orchestrate our songs of this manner.  This did not be absolutely my idea, but the one of Paul Rothchild.  I never would have done that.  The Doors were completely lost, this disc is the one of Jim with an orchestra. 

For the first time, the compos are not signed The Doors, every musician individually is credited. 

Robby Krieger: Exact.  At the start, Jim held has absolutely this that all our pieces are signed The Doors in order to leave to glide a mystery.  But that not cheated person and everyone believed that it was Jim that composed all, this that did not be just.  I think that it became aware of this injustice and that it wished that each is credited for his work. 

He has really composed the music of the signed songs Jim Morrison? 

Robby Krieger: No.  It heard a melody in his head, but it did not play the instrument.  Consequently, it sang us his voice melody and we had to find an arrangement for our instruments.  Most of the time, it had only a poem writes on a paper end and, of my side, I brought a continuation agreed or a melody on which it adapted his text. 

What you inspire the sessions of " The Soft Parades "? 

Robby Krieger: The unending meetings of mixage.  This was an album to lengthens.  " The Soft Parades " was the project more costly than we realized.  And we passions our time to run after Jim, the meetings of mixage annoyed it deeply.  That says, I believe that it had less than problem with alcohol that to the era of " Waiting For The Sun ", in the measure where it had invested himself in the realization of a film, this that the occupied more.  I remember that a day, a type barjo landed, persuaded that Jim had written The Celebration Of The Lizard (title figuring on " Waiting For The Sun ", NDR.) for him.  It put himself to yelled as denies " How could you know that I am the King Lézard, whore of merde!  You wrote me a song!  " And the here that throws itself on Ray and the kisses on the eyes, believing that Ray was stupid Jim…Ce succeeded bursting the glasses of Ray! 

" Morrison Hotel " March 1970

Roadhouse Blues, as well as of other entitle of " Morrison Hotel " announce the change that will produce itself with " THE.  Woman ", to know an orientation more blues, more basal. 

Robby Krieger: I believe that it was in reaction to the overloaded production of " The Soft Parades ".  We wanted to return to the sources, Roadhouse Blues is the one of my favorite pieces.  I always was to trust this song for, despite his basal aspect, this is not " just another blues ".  This small riff all simple one, some does a big song, very representative of the genius of the Doors.  Here the perfect example of this that did Doors a big group.  Of more, the recording of this song was a true pleasure and constitutes my better one to remember with the Doors.  We recorded Roadhouse Blues live, with John Sebastien (former lovin' Spoonful, NDR) to the harmonica and Lonnie Mack to the low one.  This is him that brought this superb line of low one. 

You cosigned Peace frog with Jim…

Robby Krieger: Yes, I had written the music, we repeated the piece and that worked fire of God.  Unfortunately, we had not any text and Jim did not be there.  We were said " Fuck after all!  One records it, Jim will find well something to sing over ".  And this is this that this is passed.  It has gone out one of the poems of his anthology and that stuck.  But for all to say you, I always felt of have done me to force the hand. 

The legend wants that Jim and Ray fussent very secured, but this is you that composed the more of titles with Jim. 

Robby Krieger: To The all beginning, Jim and Ray were effectively very near.  Jim lived with Ray and his spouse, it was a little their adopted son and all happened for the better.  Jim did not drink, did not go to does not import what, all bathed.  The problems began when Ray became a sort of witty father.  Jim rebelled.  It ruined their house, all devastated one to many returns and abused of the position.  Then, I entered into the group and I tightened the bolts around Jim, while taking it under my wing.  Ray had worked all the first songs in narrow collaboration with Jim, the entirety of the first album some does.  Then I took the relief, before writing my own songs, and all these compositions with Jim figure on " Strange Days " and " Waiting For The Sun ". 

" THE.  Woman " June 1971

One says that this album completely was recorded live. 

Robby Krieger: No, not completely.  But, most of the songs were it, notably IT.  Woman.  This song symbolizes the quintessence of the Doors and his history is fascinating.  One began to played and the whole piece we appeared as by magie.  Jim played an essential role in the élaboration and the musical construction, this that is surprising, in the measure where this is the one of its texts more poetic.  I remember Jim recording its vocal parties in the bathroom while one burst oneself behind. 

For the first time, you engage a rhythmic guitarist: Marc Benno. 

Robby Krieger: That was part of our idea of all to record live.  This provision completely liberated me.  We equally thought that that would give another color to our music.  This was a very positive experience and, for once, I did not have to lug me everdubs. 

You some have nonetheless does, one has the impression that there is at least four guitar tracks on Been Down So Long. 

Robby Krieger: it is probable, Ray did a guitar, Marc Benno also and I have had in overdubbé another what's more of the two or three parties of slide than I carried out. 

This solo to the slide is the one of the things more crazy than you did. 

Robby Krieger: Yes I tried to obtain a mood without being concerned me with technique. 

The beauty of your game of slide, and of your plans blues usually, rest on the fact that to no moment, you do not attempt to imitate the pioneers.  Of more, you always leave a little dirtiness in your parties of guitars, when white so many guitarist, have a very anal approach. 

Robby Krieger: (Laugh.)  It is true, and this do I like not with a guitarist as Mike Bloomfield, too perfect.  I always wanted to do my own thing.  I could play the parties of completely traditional slide but, this that the people like in my game, this is exactly the unbridled side and no conforms.  Besides, this is for this reason that I was engaged in the group.  Jim always loved my parties of slide, it wanted even Me do only that. 

Jim he criticized your guitar game to a moment or to another? 

Robby Krieger: It always said me that I was the guitarist the more under estimated of the world.  The funniest one this is than none of us four never criticized the game of the three others or desired to modify it.  We played so well together that we had at pains need to speak to us.  Each fact the good party, at the right moment, at the right place. 

For Hoist By My Window is a blues to leaves. 

Robby Krieger: THIS IS our piece to the Jimmy Reed.  Jim was really dived in the blues at that very moment and it loved that I play the crude blues of form.  It sat and did songs on the thumb and wanted them to last entire nights.  This that is damage, this is that I am sure that if we had been able to record an album after " THE.  Woman ", we would have done an album of crude blues, this that I always liked. 

And the élaboration of Wrinkles One The Storm? 

Robby Krieger: We déconnions on Ghost Wrinkle In The Sky and, a beautiful day, this became Wrinkle One The Storm.  This came as that, Ray played on a Fender Rhodes to the place of his habitual organ. 

Other characteristic change of " THE.  Woman ", the absence of reverb on the voice of Jim, drowned echo on the first albums. 

Robby Krieger: it is necessary to say that the studios Sunset Sound where we recorded the two first albums possessed one of the better echo rooms to the world.  The sound was so inspired that one used it more than reason while doing to pass all the instruments through.  For " THE.  Woman ", we recorded on an eight tracks, in our local one of repetition and Paul Rothchild did not be anymore with us, this that changed all the data.  This is for that that one had fun oneself, the jailer had left. 

That implies that the Doors were beautiful and well a vessel in perdition? 

Robby Krieger: it is undeniable.  We did not be able anymore played nulle leaves, we had roasted since the incident of Miami and " Morrison Hotel " had not well walked.  Jim had a dirty expression and had begun increasing in a manner disturbing.  When one takes all these elements in consideration, this is a miracle that " THE.  Woman " obtained so many successes.  I think that one did a very unbridled album because we had evacuated the pressure.  One thought to be done to kiss itself of an end to the other, then one decided to have fun itself again.  One blocked oneself so far that it was as if one recorded our first album. 

Some weeks after the album were enter into the Top Ten, Jim is dead.  How did you learn the new ones? 

Robby Krieger: One telephoned me and I did not there believe, because one was used to hear this kind of connerie of the trains " Allo, Jim threw itself top of a cliff!  " Etc.  We have therefore decided to dispatch our to manage to Paris and it confirmed us the sad one new by telephones. 

The people evoke often the fact that it was inevitable that it dies young, you divide this opinion? 

Robby Krieger: No!  I thought that it never would die.  I was persuaded that it would bury us all, as its Irish pochetrons that send themselves their litron of whisky everyday and that live until eighty years.  It seemed vulnerable.  But the death obsessed it.  It about it spoke me without stop. 

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