Post by TheWallsScreamedPoetry on Dec 24, 2004 14:16:08 GMT
An Interview with John Densmore
An interview with John Densmore
by Bret Lueder
Riding the storm to Chico was former Doors drummer John Densmore, still traveling on a performance/lecture tour that began in 1991 with the release of his autobiography Riding On the Storm.
"But I’m not really touring anymore," said Densmore backstage after his hour-plus September 16 performance, lecture, and question-and-answer session. "I just drove up here for the day."
There were about 600 people in Chico State’s Laxson Auditorium who were very grateful he did. This was a rare opportunity to peer through the window in time that John Densmore lived through—the ’60s, era of eclectic/psychedelic rock band The Doors featuring singer/enigma Jim Morrison. Oh yeah, and three other guys—guitarist Robbie Krieger, keyboardist Ray Manzarek, and drummer Densmore.
It was refreshing to hear a first-hand version of how the band evolved and disintegrated around one of rock’s most celebrated and scrutinized figures. Yet despite the obvious influence of Morrison on the other Doors, all struggled with their individuality apart from him. This is why Densmore wrote his book, to articulate to others, as well as himself, what the years 1965 to 1971 meant to him, and the world.
"It was very frustrating sometimes," said Densmore about life on stage with Morrison. "But some nights were magic."
"That’s what made it all worthwhile," he smiled. Morrison’s antics forced the band to develop an improvisational style which was both a blessing and a curse. "We never knew what we were going to get," Densmore recalled.
Morrison kept them guessing right through his own supposed death in ’71. Being the amateur conspiracy theorist that I am, I couldn’t resist asking Densmore about the rumors that still circulate about Morrison faking his death.
"So is it true that the first time you saw Jim’s grave, you exclaimed, ‘The grave is too short!’" I prompted.
"It is too short," he admitted.
"So does that mean . . . "
He pulled his head up from packing his equipment, looked me in the eye and cut me off. "I’m not implying anything," he said firmly. I could tell he gave no credence whatsoever to any death/conspiracy theory.
"Do you ever get tired of talking about Jim?" I asked.
"Yes," he replied.
I was under the impression The Doors didn’t use a bass, but Densmore set me straight.
"We used a bass player on all the albums. It was just on tour that we didn’t," he explained. "Ray would still play the same [bass] lines, but give it more punch."
"Then it’s pretty much the same being a drummer playing with a bass player as opposed to being a drummer playing with the keyboards?" I wondered.
"No, it’s not the same at all, because Ray would be a single mind holding down the bass line and when he’d take a solo, he’d rush," said Densmore. "His left hand was the bass and I had to really . . . like . . . " He tensed up, clenching both hands in front of him. "Eeeasy, Ray, easy. C’mon. But it gave me more room." He smiled again.
It’s like a wide receiver in football: even though the defensive back is quick, the wide receiver always has the advantage, because he knows ahead of time where he is going to go. The same for Manzarek and Densmore.
Densmore is animated, yet soft-spoken; dynamic, but approachable; and his skill in storytelling was apparent throughout his performance and my brief interview. He demonstrated his wry, satirical humor, his mastery of the more subtle aspects of drumming, and the overall thoughtfulness and care with which he helped create the music of The Doors.
Now in his 50s, Densmore is a native Los Angelean who still resides there. Since The Doors’ disbanding in 1971, Densmore has worked in the theater, writing, acting and playing percussion for various dance pieces. He has co-directed and produced several long-form Doors videos and consulted with Oliver Stone in the making of the movie The Doors, about which he says, "it’s only about two-thirds incorrect."
"So what’s next for John Densmore?" I asked
"Well for now, I think I’ll pack up and go home," he sighed.
I wasn’t going to settle for that answer so I inquired about his musical future.
"We’ve been talking about getting together and doing an instrumental album," he said and I heard several people who were back stage mumble "Yes" in approval. An instrumental Doors album; that would truly be cool; almost as cool as Densmore himself.
This was a memorable night; seeing, listening and talking to John Densmore. He is the real deal.
Synthesis Network
An interview with John Densmore
by Bret Lueder
Riding the storm to Chico was former Doors drummer John Densmore, still traveling on a performance/lecture tour that began in 1991 with the release of his autobiography Riding On the Storm.
"But I’m not really touring anymore," said Densmore backstage after his hour-plus September 16 performance, lecture, and question-and-answer session. "I just drove up here for the day."
There were about 600 people in Chico State’s Laxson Auditorium who were very grateful he did. This was a rare opportunity to peer through the window in time that John Densmore lived through—the ’60s, era of eclectic/psychedelic rock band The Doors featuring singer/enigma Jim Morrison. Oh yeah, and three other guys—guitarist Robbie Krieger, keyboardist Ray Manzarek, and drummer Densmore.
It was refreshing to hear a first-hand version of how the band evolved and disintegrated around one of rock’s most celebrated and scrutinized figures. Yet despite the obvious influence of Morrison on the other Doors, all struggled with their individuality apart from him. This is why Densmore wrote his book, to articulate to others, as well as himself, what the years 1965 to 1971 meant to him, and the world.
"It was very frustrating sometimes," said Densmore about life on stage with Morrison. "But some nights were magic."
"That’s what made it all worthwhile," he smiled. Morrison’s antics forced the band to develop an improvisational style which was both a blessing and a curse. "We never knew what we were going to get," Densmore recalled.
Morrison kept them guessing right through his own supposed death in ’71. Being the amateur conspiracy theorist that I am, I couldn’t resist asking Densmore about the rumors that still circulate about Morrison faking his death.
"So is it true that the first time you saw Jim’s grave, you exclaimed, ‘The grave is too short!’" I prompted.
"It is too short," he admitted.
"So does that mean . . . "
He pulled his head up from packing his equipment, looked me in the eye and cut me off. "I’m not implying anything," he said firmly. I could tell he gave no credence whatsoever to any death/conspiracy theory.
"Do you ever get tired of talking about Jim?" I asked.
"Yes," he replied.
I was under the impression The Doors didn’t use a bass, but Densmore set me straight.
"We used a bass player on all the albums. It was just on tour that we didn’t," he explained. "Ray would still play the same [bass] lines, but give it more punch."
"Then it’s pretty much the same being a drummer playing with a bass player as opposed to being a drummer playing with the keyboards?" I wondered.
"No, it’s not the same at all, because Ray would be a single mind holding down the bass line and when he’d take a solo, he’d rush," said Densmore. "His left hand was the bass and I had to really . . . like . . . " He tensed up, clenching both hands in front of him. "Eeeasy, Ray, easy. C’mon. But it gave me more room." He smiled again.
It’s like a wide receiver in football: even though the defensive back is quick, the wide receiver always has the advantage, because he knows ahead of time where he is going to go. The same for Manzarek and Densmore.
Densmore is animated, yet soft-spoken; dynamic, but approachable; and his skill in storytelling was apparent throughout his performance and my brief interview. He demonstrated his wry, satirical humor, his mastery of the more subtle aspects of drumming, and the overall thoughtfulness and care with which he helped create the music of The Doors.
Now in his 50s, Densmore is a native Los Angelean who still resides there. Since The Doors’ disbanding in 1971, Densmore has worked in the theater, writing, acting and playing percussion for various dance pieces. He has co-directed and produced several long-form Doors videos and consulted with Oliver Stone in the making of the movie The Doors, about which he says, "it’s only about two-thirds incorrect."
"So what’s next for John Densmore?" I asked
"Well for now, I think I’ll pack up and go home," he sighed.
I wasn’t going to settle for that answer so I inquired about his musical future.
"We’ve been talking about getting together and doing an instrumental album," he said and I heard several people who were back stage mumble "Yes" in approval. An instrumental Doors album; that would truly be cool; almost as cool as Densmore himself.
This was a memorable night; seeing, listening and talking to John Densmore. He is the real deal.
Synthesis Network