Mr. Mojo Risin: The story of L. A. Woman

[casandra]

Mr. Mojo Risin: The Story of L. A. Woman (DVD/Blu-ray) - review



Reel Music Festival 29: ‘Mr. Mojo Risin’ – the Doors talk about Jim and… the Doors

by Tom D'Antoni on October 10, 2011

In this 2011 documentary by British filmmaker Martin H. Smith, we find out that the title of the doc, taken from the title tune of the Doors’ album L.A. Woman is an anagram of Jim Morrison’s name and a tip of the hat to Muddy Waters (Got My Mojo Workin’), but not Mr. Morrison telling us about his erection, as everyone had thought.

That revelation aside, Mr. Mojo Risin: The Story of L.A. Woman which screens at the Mission Theater as part of Northwest Film Center’s Reel Music 29 festival, Monday, October 10, 9:15pm, focuses on the making of that album and the larger issues around the band and Morrison’s leaving the moment it was finished, moving to Paris and dying shortly thereafter. Its release marks the fortieth anniversary of the album.

It deals with the relatively short life of the band, and is told, for the most part, by the surviving band members Ray Manzarek, John Densmore and Robby Kreiger. Others include Jac Holzman, founder of their label Elektra Records, Bill Siddons, who was their manager and Bruce Botnick, engineer and co-producer of the album.

It is instructive to take a look at something Morrison once said, “I see myself as a huge fiery comet, a shooting star. Everyone stops, points up and gasps “Oh look at that!” Then whoosh, and I’m gone … and they’ll never see anything like it ever again — and they won’t be able to forget me, ever.”

Except, we have to ask the question, does anyone in the current generation (or the previous two or three) really know who he was, or is familiar with his work? For those interested in discovering him, this is a great tool, even though the band members are over the top when it comes to being self-congratulatory…but that’s L.A. isn’t it. When it comes to deaths of that era which shaped a generation, the Kennedy’s, Martin Luther King, Hendrix and Joplin, Morrison’s was not felt with the same depth, the people who still visit his Paris grave notwithstanding.

Forgotten? Maybe. Neglected? Definitely. And the above quote distills what was annoying about him. Please let others give you praise. Popularity is fleeting, and today’s fiery comet is tomorrow’s truck driver.

For those familiar with Morrison, no we haven’t forgotten. We just stopped listening. My Doors LP’s have been sitting on my shelves, untouched for at least ten years (maybe more). Do they hold up? Yes and no. Toward the end, and particularly on L.A. Woman, Morrison’s voice had become gruff and scratchy, and not in the good way. Although he was hailed as a great poet at the time, upon further review, he’s no Rimbaud, believe me.

Still, the documentary is cleverly structured, telling the story of the band and the album by focusing on each song, one-at-a-time, winding up with the title tune. It deals with the major events in the life of the band, including Morrison’s alcoholism and his arrest for supposedly exposing himself during a Florida concert. I have a friend who was in the fourth row and she says he did not. She would have noticed.

Self-hyperbole aside, this is a must for Doors fans, or anyone who is curious about what all the fuss was about.

oregonmusicnews.com/tag/jim-morrison/

[TheWallsScreamedPoetry]

An interesting preview of the soon to be released DVD but one that again looks with a 20th century view.
It's something I been banging on about for years now. I was banging on about it at the weekend to my big Doors mate The Holy Sha.
1971 was Morrison getting away from the Albatross of The Doors and trying to find a new beginning for himself.
He had made mistakes and knew that but he must have thought there was hope for a new start.
Sadly he didn't make it and the opportunistic cabal that was The Doors and Elektra went into 40 years of overdrive.
These people whom I love and detest at he same time have tainted the water around Jim Morrison to the point of wiping out any chance of looking at Jim as an artist. Which he was indeed first and foremost.

I don't ever go round crawling about his ass promoting him as some kind of hero.
The guy was an alcoholic woman beater and for that should have had six shades of shite kicked out of him.
I don't respect that part of Morrison.
But as a singer, a performer an artist and yes even a poet he had an honesty that was and still is rare in an industry full of shit and greed.
Ray Manzarek, yes the same Ray Manzarek I would not piss on if he was on fire, said one of the most profound things about Jim Morrison in 1981.
He said Jim Morrison was 'real' and it is that reality that Ray Manzarek has polluted with his lies and opportunism since Jim escaped to Paris to get away people like Ray Manzarek.

The Doors don't give Morrison his due they exploit the fact he is dead and cannot contradict their 'learned' analysis of the artist and man.

We have several threads that look with different eyes at these people that concludes a very different view of who THEY were and their effect on the artist known as Jim Morrison.

To have a really effective 21st century analysis of both The Doors and Jim Morrison we must first exclude The Doors from ever speaking or even having an influence on what we see and hear.
Pretty radical shit maybe but The Doors are the worst people you can imagine to talk to about Jim Morrison.

the question, does anyone in the current generation (or the previous two or three) really know who he was


That is THE Question. And it's not just the last couple of generations. I was there, albeit 10/11/12, when The Doors existed. BUT my view of both the band and the men who made up that band is polluted by greed, lies and opportunism. Let alone the 80's or today's generation.
Why is that?
Simply because the people who have written the History do it to make a buck.
They tell lies because it suits them to tell lies.

It began as soon as Jim's body grew cold.
Jim hadn't actually left The Doors but was resting for a while.
But these three knew he had left because they had not trusted him to go to Europe and start a new Doors with some British guys. So they made him sign an agreement that said he could not use the name without his permission.
But that lie cemented the all for one Doors ethic into the psyche of Doors fans.
I had it for 30 years and argued long and hard with rock fans about how different this band was.

But it wasn't true. These guys were riven by distrust and possibly even dislike. The band were pissed Jim got drunk and caused Miami. Jim was fed up of being a rock star and had asked for a break in June/July 1968.
Then seen that somebody had booked a US tour for 1969 and was even talking about a 2nd European tour.

We now know that in the studio after Miami Jim was largely ignored by the other three. We have witnesses that attest to this. Jim travelled seperately to the other 3 and left as soon as he could after the bands concerts were over.

In 1968 the band showed him they were greedy by selling LMF to Buick.
43 years later Buick is still Jim's (Jimbo's) fault and the lies they told forgotten.
Morrison saw his dreams of a poetic Doors shattered in 1968 with the loss of COTL and Buick.
But the bands problems always blamed on Crazy Jim the piss head drunk.
The artist is mentioned true but usually in conjunction with a sentence that includes Dionysus or shaman.
This bullshit quasi religious persona Ray Manzarek has spent 40 years selling.

Lies, distortions and pure bullshit are what we get from The Doors Organisation.
Simply designed to sell an image of an troubled artist to a generation who would think he was cool.

That was sold to my generation and probably yours.
BUT it does not tell us who Jim Morrison was simply who The Doors think he was to maximise profit.

To me 40 years later Jim Morrison is still an interesting enigma. Some good , some bad, some pretty vile but also some pretty damn incredible.

The man wielded words the way a Samurai wielded his katana.
There was something about this guy I have never seen or heard in 50 years of listening to rock music.
It still interests me today.
But the old world view of Morrison is full of lies some of which do indeed contain truths.
Who do I think Morrison was considering I am talking a lot about this?
I don't know and that is what is fascinating to me.
But I do know he was NOT the guy Ray Manzarek sells when he opens his trap.
He was not the guy portrayed in this DVD either and I have not even seen the bloody thing yet.

It's a Question that interests me a lot.
I been thinking deeply about this shit for over a decade now and have been very vocal about it.
To the point I have received death threats, am hated by many figures in The Doors world including some in the actual story and been banned off John Densmore's forum by John Densmore.

I consider those things badges of honour.
I have endevoured to see The Doors with different eyes and that's exactly what I do.

Does that mean the music is somehow diminished by this view.
Don't be daft.....I still get that chill up the back from a Krieger incursion into a Doors song or Manzarek's other worldly keyboard mastery or a Densmore drum fill or a scream from Hell vocal by Morrison.

LA Woman is one of the greatest albums of ALL TIME.
THE DOORS are THE greatest band to me that has ever existed.

sadly the History of this great American Icon has never been explored by the media in a way that is deserving of their incredible genius.
And the sad part is that the fault lies with THEM for that happening.
Sensation over substance is something I say often on this forum.
All done for effect and the profit motive.

sad really.

[casandra]

THE DOORS MR. MOJO RISIN': THE MAKING OF L.A. WOMAN

Discussion following with Jim Ladd, Jac Holzman and other special guests TBA.

THE DOORS MR. MOJO RISIN': THE MAKING OF L.A. WOMAN
2011, Eagle Rock Entertainment, 94 min, USA,

Featuring all-new interviews with the three surviving members of the Doors, Ray Manzarek, Robbie Krieger and John Densmore, plus contributions from Elektra Records founder Jac Holzman, Doors manager Bill Siddons and music producer Bruce Botnick, this timely documentary - released in 2011 for both the anniversaries of Jim Morrison's death and the band's final album with Morrison - chronicles the making, recording and band-member dynamic during the production of L.A. Woman. Includes archival footage of the Doors performing both live and in the studio, classic photographs and new musical demonstrations from the band.

Trailer
www.youtube.com/watch?v=sMovI131FgU

screening format: HD cam

Egyptian Theatre • Fri, January 20 • 7:30pm

Egyptian Theatre
6712 Hollywood Boulevard
Hollywood, CA 90028

www.americancinemathequecalendar.com/content/the-doors-mr-mojo-risin-the-making-of-la-woman-0

[casandra]

The Doors – Mr. Mojo Risin’: The Story Of L.A. Woman (Eagle Blu-ray)/

- Nicholas Sheffo

Picture: B-/ Sound: B-/ Extras: C+/ Main Programs: B-/

What does Rock music mean today? To some, it is a dead genre and only good for nostalgia, with others laughing at the mere mention of “Rock N Roll” for numerous reasons, yet Rap/Hip Hop peaked in 2000 and no new genre has merged in the 21st Century yet. In addition, Rock was so massively successful that the ground it broke may be familiar, yet some artists took it into directions that have yet to be really explored and our four Rock releases here today show us the great extent that is true.

Whatever you think of Jim Morrison, people still talk about him and he was one of the genre’s earliest landmark stars. The Doors – Mr. Mojo Risin’: The Story Of L.A. Woman examines the end of Morrison, his band and the key album they made that was a departure from their previous releases as well as the one that turned out to be their last. Like Led Zeppelin’s In Through The Out Door (1979), you can hear the band sounding gruffer than ever throwing out most pop sensibilities and coming up with a darker work than before. It was the end of the bands in both cases and both were big commercial and critical successes.

This new making-of program runs about an hour but is not an installment of the Classic Albums series (which already featured debut album of The Doors (reviewed on DVD elsewhere on this site) as their seminal work and they only cover one artist’s album for the whole series) nor is this an installment of the Under Review series (which does albums as well as documentaries on periods of artists) but has been undertaken by the remaining band members and is as good a documentary on their work as the many we have seen to date.

Ray Manzarek is less talky and more informative than usual, more of the key people involved are interviewed than before and the result is one of the most organized, professional presentations of their work to date. It also shows (unlike the older programs form the VHS era) how well this music has endured and offers great detail on each song on the album including comments from the mixing board. It also suggests the band had more good albums in them if Morrison had survived and rightly so.

Extras include a new track “She Smells So Nice” with a photo montage and 35 minutes of footage not shown on TV or apparently anywhere else. You can read more about our coverage of Blu-ray and DVD releases on the band starting at this link:
www.fulvuedrive-in.com/review/10039

The 1080i 1.78 X 1 digital High Definition image on the Blu-rays are the best here as expected, but Doors has new HD footage and good film footage mixed in with analog NTSC and even PAL video, some film badly transferred to analog video and other issues typical of documentary productions that hold it back, yet are par for the course on the image mix you get from such documentary programs.

Doors is a mix of new simple stereo interviews, old monophonic interviews, variant audio in between and nice applications of the 5.1 remixes of their hits that debuted years ago on the nearly defunct DVD-Audio format we have covered before. You can really appreciate the music made when you can hear it this well and the audio is as good as any Doors video release to date.

Read more: www.fulvuedrive-in.com/review/11406


DVD Review: Mr. Mojo Risin' - The Story of L.A. Woman

Author: Wesley Britton — Published: Jan 14, 2012 at 9:21 pm

When L.A. Woman was released on April 29, 1971, only insiders knew it was the epitaph for a band. No one expected that, three months later, Jim Morrison would die in Paris. Everyone then thought The Doors’ sixth album was also the singer’s last word. That was true until 1978, when the surviving members added music to Morrison’s spoken word recitations and released An American Prayer. But that was a special tribute , not a full-fledged Doors album.

Thereafter, L.A. Woman was been re-mastered and expanded in various incarnations including the 40th anniversary collection released in 2011. Now, director Martin R. Smith and producerJeffrey Jampol have edited a very fitting tribute to the album. The documentary should please any fan and help newcomers understand why this LP has such a significant role in rock history.

The heart of this anatomy of a classic, of course, is new interviews with Ray Manzarek, Robbie Krieger, and John Densmore who discuss the contexts of the times and how they helped shaped the lyrics and sounds. Each demonstrate the instrumental foundations they created to support and inspire the lyrics of every track. Insightful commentary is added from Doors insiders like Jac Holzman, founder of Elektra Records, their manager Bill Siddons, and engineer Bruce Botnick who helmed the sessions after past producer Paul Rothchild left the studio justifiably saying the early tracks were boring him. By all accounts, after Botnick suggested the group record in their own rehearsal hall, the energy soared with the group returning to its jamming, blues roots. Enthusiasm went even higher when Elvis Presley's bass player, Jerry Scheff, agreed to play on the record.

It’s clear all participants have special fondness for the album. The process was full of good times that were part of its creation and all feel pride for what resulted—“Love Her Madly,” “Riders on the Storm,” the title song, John Lee Hooker’s “Crawling King Snake,” and “The Changeling” among the highlights. It’s fun to hear how “Riders on the Storm” evolved from a jam of the country hit, “Ghost Riders in the Sky,” and how Manzarek drew from a Blood, Sweat and Tears song called “House in the Country” for one of his organ solos.

At the same time, there is a poignant tone as The three Doors can’t avoid pointing to overt and possible meanings in Morrison’s lyrics. In some lines, there’s his hope for a new life in Paris as he knew he was leaving the band. Others seemed foreshadowings of what fate awaited him. Haunting melodies were more than appropriate for a man full of ghosts and a worn out psyche giving one last album his all. He was a man with the weight of the legal system on his shoulders, and L.A. Woman was intended to be his gift to his bandmates and audience. While the music is the focus with the studio being center-stage, there’s more than a “making of” dimension here. There’s the aftermath and layers of meaning few other recordings can share.

The visuals include archival footage of the Doors performing both live and in the studio. The 94 minute main feature is supplemented by extended interviews, an excellent montage of the sites of L.A. shown over the title song, and a live version of “Crawling King Snake.” Altogether, “Mr. Mojo Risin': The Story of L.A. Woman'" is a personal statement from The Doors for all who love them and those newly discovering their legacy. It’s the story about an album that was more than just one album, and the story about it is well told here.

Read more: blogcritics.org/video/article/dvd-review-mr-mojo-risin-the1/page-2/#ixzz1jeN2qw1E

[casandra]

The Doors: Mr. Mojo Risin’: The Story of L.A. Woman Blu-ray Review

Posted January 14th, 2012 by Brandon DuHamel

•Aspect Ratio: 1.78:1
•Video Codec: AVC/MPEG-4
•Resolution: 1080i/60
•Audio Codec: English DTS-HD Master Audio 5.1 (48kHz/24-bit), English LPCM 2.0 Stereo (48kHz/24-bit), English Dolby Digital 5.1
•Subtitles: English, French, German, Spanish
•Region: ABC (Region-Free)
•Rating: Not Rated
•Run Time: 94 Mins.
•Discs: 1 (1 x Blu-ray)
•Studio: Eagle Rock Entertainment
•Blu-ray Release Date: January 24, 2012
•List Price: $19.98

The Doors – Mr. Mojo Risin’: The Story of L.A. Woman is a typical documentary in the “Classic Albums” style that explores the making of the final album by the Doors with Jim Morrison. The remaining members of The Doors, Ray Manzarek, Robbie Krieger, and John Densmore along with engineer and co-producer Bruce Botnick give a song-by-song breakdown of the recording of the historic L.A. Woman album sessions. There are interesting and reflective insights into the creative process, the controversies surrounding Jim Morrison (the forever young frontman was facing criminal charges and possible prison time for indecent exposure at the the time), and perhaps a few new revelations for hardcore and casual fans alike. I for one was unaware that the famous “city of night” line from the title track was a reference to the John Rechy underground novel about homosexuality in America.

There may always be a debate amongst Doors fans about what is the greatest album from their catalogue, but I don’t think too many can argue that L.A. Woman was a bad way to go out (even though there would actually be a little known post-Morrison album). This look into its construction and the history surrounding it is a definite must for fans.

Eagle Rock has provided Mr. Mojo Risin’ with a 1080i/60 AVC encodement that is clean and artifact-free. Much of the documentary is archival photographs and film footage, which necessitates that the quality is below that of the new high definition footage of the remaining members of the Doors in their interview footage. Still, it’s a strong release for the source material at hand.

The DTS-HD Master Audio 5.1 is the way to go when watching Mr. Mojo Risin’. There isn’t much going on for much of the documentary, the mix being typically front-heavy, dialogue-driven and based in the center channel, but the music is where it’s at, and those additional channels add a lot of ambience and spaciousness with airy high frequencies and musical bass tones. The LPCM is good as well, serving up a natural midrange and clean dialogue.

All extras are in high definition 1080i and include additional interview segments, some archival performance footage of The Doors, plus a photo slideshow with additional live Doors performance as the musical accompaniment.

The Supplements:

•Bonus Footage:
•John Densmore on L.A. Woman
•Ray Manzarek Discusses Riders on the Storm
•The Doors Guide to L.A.
•Thoughts on Performing Live
•Crawling King Snake
•She Smells So Nice — Slideshow

“Our world on you depends, our life will never end…” What better way to end a review on a classic Doors album. If you’re a rock and roll fan, then check this out as a rental at the very least.

More information and some images:
www.blu-raydefinition.com/reviews/the-doors-mr-mojo-risin-the-story-of-l-a-woman-blu-ray-review.html

[patdmelt]

I'm going to the egyptian on friday to see this. Very exited.

[patdmelt]

Just got back from Mr Mojo risin. First of all it was sold out and I had two tix I blew off wish i coulda hook one you guys up. I'm a big fan. Ive been to alot of off doors stuff in LA. They had Jim Ladd a La DJ who's been around for along time host. He's kinda a cheese ball but he has played alot of cool songs in la that no one else would. He brought up Jac Holtzman, who was very real and had a great energy. He told his version of the LA woman story, and the party he threw for the doors to keep them on the hook for one more album. He said Jim gave away 20 tix to this ( Slick Hollywood) party to homeless people. And Pam said if we go to Columbia thx for the swell party. So he says I gave them a way better cut because it had to happen! Really heart felt stuff. Then the Doc. Kinda a let down no new footage all ive seen mostly from when you strange stuff. And the Doors would talk about the certain track from the album. It was a classic albums kinda thing they do on VH1 no big deal. I have to say I was a bit emotional too. The music is so fuckin great I tear'd a little its such a bizzare great sad story. They new Jim was done and he was. Listen to that album I had to play it while im writing this. Then Jim Ladd after brings up Ray and Robbie and Bruce Botnick and Hotlzman to banter and answer ?? Bruce B gave great insight but spoke rarely and Ray who is so full of shit (sorry) kept telling the same storys ive heard forever. I'm a comic actor so i can tell you its a script Ray keeps telling over and over.

[casandra]

¡¡Muchísimas gracias!!

I have liked very much your comments.

Clearly, when Mr. Manzarek comes in, he doesn't allow to others speak, he is a kind of verbal incontinent. They should put him a sticking plaster on the mouth.

[TheWallsScreamedPoetry]

Yes indeed it will be cool to hear more from you once you have recovered from the night and can articulate your thoughts.
I guess I was not expecting anything other than a Classic Album type thing.
The one they did for the first LP was very good but suffered from being short on extras.
Classic Album TV series is an hour but there is nothing stopping The Doors from putting DVD extras on.

It seems to me that a new History is being written about The Doors.
We have seen Krieger's attempt to portray himself as favouring ROTS as the first single from LAW which is NOT true at all and Jac Holzman tells that tale well in FTM.
Robby has also told the black eye story a few times this last year or so with Jim hitting him rather than the truth of a Texas automobile accident he was in.

Things that sound 'cool' rather than the actual truth.
A perfect example is the title of the DVD.
DiCillo made a big fuss over this nothing bit of story and it seems the band are too. So what if Jim did an anagram of his name. There was a lot more to LAW than that
But of course it sounds cool to the Play Station generation.

That abominable excuse for a documentary sowed the seeds with it's Morrison was hooked on fame tripe.
Who knows what we will see in the next decade.

Manzarek is a walking pile of putrid puss and a liar.
He was once Jim's friend it's true but not at the end. I bet Ray never mentioned the story of Jim trying to choke him to death in New York
He is without doubt the single worst person to ask about The Doors even if he founded them.

The Doors today remind me of the Procul Harum lyric to (Outside the gates of) Cerdes. Robby is Phallus Phil trying to sell his memoir whilst not being able to remember a thing as his brain is fried whilst JD is Sousa Sam not being able to get a word in for Ray and Peep The Sot fits him perfectly.
Sweetly scented breath whilst talking utter shite.

"Phallus Phil tries peddling his pewter painted pot
but Sousa Sam can only hear the screams of Peep the Sot
who only sips his creme de menthe from terra-cotta cups
and exhales menthol scented breath whilst spewing verbiage up"

It's a shame really as the band has a rich History and was without doubt one of (if not THE) most important American band ever.
LAW was one of the greatest albums ever made.
As far as I am concerned the band made two 'PERFECT' LP's Strange Days was one and LA Woman was the other.

I still look forward to seeing the DVD as if it's as good as the first album one it will be worth seeing. Botnick was excellent in that one and hopefully he has a good contribution to this one.

[patdmelt]

Oh and a very jonezed out jeff Jampool was running around and he intro the first part before the movie. And Bruce Botnick said more to come the "holy grail" is coming whatever that means. The thing that pisses me off not one new anything pics, footage nothin exept Ray blathering on.

[patdmelt]

Oh by the way the LA weekly has a decent cover story about the making of LA Woman. My thoughts are that when Jim left they just wanted to keep the machine going anyway possible and then had to deal with the fact that without him there is no doors.

[patdmelt]

Sorry for the short posts but its such a waste that they can't get a great production company to do these docs. Mr Mojo risin looks cheap and the editing sucked too. WYS had much better editing. Jac hotlzman and Bruce Botnick again were awesome to listen too. I talked briefly to Bruce nice guy too. Jac was overwellmed by fans after the QandA.

[TheWallsScreamedPoetry]

Jan 21, 2012 18:40:32 GMT patdmelt said:

Sorry for the short posts but its such a waste that they can't get a great production company to do these docs. Mr Mojo risin looks cheap and the editing sucked too. WYS had much better editing.

I can understand mate as disappointment is the bane of all Doors fans. If you get a second wind could you give us an idea of the Q&A session minus the Manzarek garbage which we already know without being there.

Eagle Vision specialise in cheap DVD product here in the UK. The Doors have always gone for the cheapest option at the highest price to the customer.
Even BMR was a cheap product at a high price.
Many bands do similar things with sumptuous booklets for CD but The Doors never really bothered even going as far as releasing the same booklet in both Aquarius releases.
High prices and cheap product are their trademark.
To me that says greed over legacy. They have been ripping Doors fans off for well over 20 years now. They get away with it because Doors fans let them. That to me is the saddest part.
Collectively we are dumb as mules.

Jan 21, 2012 18:40:32 GMT patdmelt said:

And Bruce Botnick said more to come the "holy grail" is coming whatever that means. The thing that pisses me off not one new anything pics, footage nothin exept Ray blathering on.

I think they have used this phrase a few times. It's a way of deflecting the criticism. This nonsensical Holy Grail idea which to different fans means different things. To me it would mean the December 70 and March 1969 poetry sessions. Probably to you it may mean something else. It's a way to keep us hanging on and keep us buying.
Ray spoils these things because the really interesting people (of which he used to be one 20 years ago) never can get a word in.

Jan 21, 2012 18:40:32 GMT patdmelt said:

Oh by the way the LA weekly has a decent cover story about the making of LA Woman.

Any chance of getting a scan of it so we can check it out?

Jan 21, 2012 18:40:32 GMT patdmelt said:

My thoughts are that when Jim left they just wanted to keep the machine going anyway possible and then had to deal with the fact that without him there is no doors.

It was Jim's death that allowed them to do this. After he left we know that The Doors were pissed at him. The evidence has to be Paris May 1st 1972. They did not mention his name on stage ONCE there. We have two witnesses to this Jerry Hopkins and Herve Muller. They did not visit his grave and made up some bullshit about being scared a riot might break out if they went.
So much for friendship
They did not realise what Jim had left them until the late 70 resurgence of The Doors. Then they saw the opportunity and grabbed it and never let it go. These people have not had a proper job since the 70s. They are happy to be the Ex Doors and rake in the millions.
I find it sad that they got a fortune and Jim got a crappy little piece of Paris dirt.
This is why I don't like them anymore.
It took 30 years to really see these people but now my eyes are open and I can't ever go back to the way I was as a Doors fan.
I love the band but loathe the people in it except for the poor schmuck who died and left us the fans a Legacy and his band mates a meal ticket.

[patdmelt]

Exactly! you know I think Rays greed reflects the frustration he had with Jim being a pain in the ass. And draining them of alot of $$ oppurtunitys when Jim was alive. Like you owe us dude and now we are getting paid! You know the other thing thats sad about the Doc, is where the hell are Jerry Scheff and Mark bennos two cents? They were there, they are still very active. Scheffs resume is like a whos who in music. I have a comic buddy who into'd me to someone in Jims family. Very nice person and you see a Jim resemblence. They know how goofed up Ray is. I will for sure tell my thoughts to them and your too. They do have some say about stuff in the Doors world. The Q and A was lame because most fans were freaked and stiffled because they were like oh wow im talking to Robbie. They video'd all of the Q and A. When someone asked if they will make up with John Ray yells next question. Ray and Robbie give the same answers to everthing they remind me of a couple of car show guys, who go around and sign autographs like they were on a show from the sixties. Again Hotzman and Botnick awesome but bruce said little because of the big mouths.

[TheWallsScreamedPoetry]

Good point with Benno and Scheff as they played a big part. I can think of another who's view I would like. Adam Holzman as he hung out at the sessions and was Doors daft by then.
Robby sadly is Ray's pet and just echoes him now.
His brain is fried and he is not worth listening to really nowadays.
Densmore is someone I wish would talk more but he is pretty much a recluse now.
Ray runs the show really and he contaminates every opportunity to learn anything worth hearing.
I used to love hearing him but now he makes me sick with his lies and bullshit.
A Q&A with Ray involved is sadly just another lost opportunity.
But he keeps the kids happy I guess as all they know is the story according to Ray.
Stick him in a room with an old gobshite like me and see what happens

[TheWallsScreamedPoetry]

Just watched a copy and to be honest there was a lot to like about it.
I agree with pat that the editing was very poor and there was about a second or two of footage that might be new to us.
It would have been nice to have seen the Aussie footage in it's entirety and uninterrupted. I know it's hard as very little footage from the time of LAW exists (as far as we know) but the editing was pretty amateurish.
The first 10 minutes of setting the scene were a waste with Ray dribbling on about fuck all and some idiot from the Rolling Stone prattling on BUT once they got to LA Woman it became very interesting.

Botnick, Holzman and Siddons made outstanding contributions.
It was good to see on an official DVD Bill Siddons put to rest this nonsense that Morrison was still a Door when he died.
Botnick at the mixing desk was very cool and he added an interesting new dimension to the story with his section along the lines of what he did on the debut LP Classic Album DVD.

The band had some misses but where they too were outstanding was in the segments explaining and demonstrating the roots and the mechanics of the songs.
That was hugely enjoyable and all three were exceptional at doing that.
It was a pleasure to watch three masters at work.

Of course there was plenty to take issue with.
The hypocrisy of those three was evident with their Jim was my mate routine but it did not spoil my enjoyment.
There were some really good points made by pretty much all the participants but I like the one Holzman (I think) made that LAW was Jim's gift to the band. That I can find agreement with. Once Jim realised this was his swansong with The Doors he made the effort to work with them and leave something special.
Unlike the idiot DiCillos argument that Jim needed Jerry Scheff to keep him interested.

More LAW and less dribbling on about what a crazy guy Morrison was would have been nice and the RS clown made very little contribution that was worth hearing.
It was nice to have Mike and Frank there to add some gravitas and even Jim Ladd managed to say something worth hearing.
A bit less R$y and a bit more Ray would have been nice.
I don't understand why L'America was not part of the DVD....OK it was not in the LAW sessions but it was a worthy part of LAW.

Some of it did bring a lump to my throat as there was poignancy in the end segments.

You may be shocked by this but the last word went to Ray and I stand up and applaud the old hypocrite for what he said.

"The ancient Egyptians used to say that if you say a mans name he is alive so I take this opportunity to say...Jim Morrison"

A fitting epitaph for a great artist.
I miss that Ray

[patdmelt]

I agree with your thoughts I found myself thinking this a amazing fucking album. The RS guy trap door that tool. I thought there would be more pics and vids not much at all.

[TheWallsScreamedPoetry]

RS Man was in the special features as well and sounded to me like some silly kid who saw The Doors as 'cool' rather than a band that altered music forever.
'The Doors were trouble....Miami was not the first time Jim got busted.'
As if that was important somehow?
This idea permeates a a lot of Doors fans sadly who miss a lot of wonder for the superficiality of the sensation.
The Doors were THE most important band America ever produced as far as I am concerned.

The extras were sparse as usual about 45 minutes but had some brilliant moments.
Pride of place goes to Ray for his 7 minute explanation of how ROTS evolved and his run through with vocals was exceptional.
John did a great section on LA Woman.
For some reason they never gave Robby a spot.
A nice segment of LA to the music of the title track was of interest.

Another highlight addressed what i said earlier as the Aussie TV footage was shown in it's entirety.
Probably one of the most important pieces of Doors footage there is.
Nice one.

Bruce Botnick said some stuff worth hearing as did Frank.
And apart from the usual tripe from John and Ray about Jim the drunk and the New Orleans show aside there was some decent moments.
It continually annoys me that they bring Jim the drunk up as he has no voice and we have discussed here on this forum over the years that there were reasons why Jim got so drunk in his last couple of years and this stems from the actions of the other Doors who always get off Scot free as we don't hear about what they did.
But that's life and the lack of it for you

The photo montage has a few interesting photos although would have been better with a caption for each. A couple may have been from the Fog. We will have to wait and see about that.

But of course there should have been more.
A lot more.

[casandra]

I've seen the documentary. It is interesting to know the process of composing and recording the songs of L.A. Woman. The Rolling Stone guy is superflous, he says nothing interesting. I have liked Michael McClure and Jack Holzman’s talks.

I don’t understand the reason why some old footage had poor quality. I guessed all the footage had been restored for When you're strange, although those had not been included there.

The unseen images are few pictures on the bonus "She smells so nice/Rock me". As you say a couple of photos might be from London Fog.

[TheWallsScreamedPoetry]

It's something that they have been guilty of before. There was a problem with the PBS footage on one of the Doors DVD's where the quality of the footage was very poor compared to on a previous video.

It seems to me that The Doors don't care enough to check the releases for quality and just leave it to chance.
Which probably explains the Who Scared You fiasco where the shortened version was released on the Box set and the Indian Summer mistake where the MH version was released on the debut LP 40 year version instead of the 1966 session version.

If I (or any Doors fan) was involved in this then it would never happen as I would listen to and watch everything that was to be released BEFORE it got to the release stage and ensure quality was observed and that what was supposed to be there WAS there.
I guess that The Doors don't really care that much as long as the cash keeps rolling in.
It's hardly like any of them have anything else to do other than be an ex Door. None of them have had a proper job in 30 years