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“Strange Days”, The Doors’ second album in only nine months, was uncanny in capturing seismic changes already underway in America which would signal the end to the all-too-brief “Summer of Love” in 1967. The Doors’ late co-founder Ray Manzarek In the Studio for “Strange Days”.
In January 1967 when John Densmore’s snare drum cracked like a rifle shot before Ray Manzarek’s nimble fingers made their intricate run of baroque-sounding notes on that reedy Farfisa organ, all on the introduction to jazz/flamenco guitarist Robbie Krieger’s composition “Light My Fire”, it clearly and boldly announced a unique approach to rock and roll that really has no peer. And all of that before Jim Morrison stepped up to the microphone to introduce one of the greatest voices and hedonistic personalities in rock history. Not unlike Creedence Clearwater Revival from the same period, no other American bands put out more albums in less time which were more influential in the last 50+ years. And like CCR, no one ever sounded like The Doors ever since. Here is Doors co-founder the late Ray Manzarek with me In the Studio to mark The Doors anniversary. -Redbeard
“L.A. Woman” by The Doors is one of the greatest albums ever made by an American band, one of the first great albums to usher in the Seventies decade, the last album ever by the incomparable Jim Morrison, and a personal “desert island disc” for me that never ages; with the late Ray Manzarek In the Studio.
The Doors Absolutely Live performing “Who Do You Love”
Redbeard rocks St Patty’s Day with Spotify all- Irish playlist!
Roger Waters admitted to me that, in 1980, Pink Floyd had been guaranteed one million dollars per night to perform “The Wall” on a stadium tour. “And I refused to do it outdoors,” Waters tells me in this classic rock interview. “But how can you do a show, that’s about the alienation you feel about doing stadium shows, in a stadium?”
After listening to his songs with the Beatles for sixty-plus years, and playing his solo albums and Wings stuff on the radio/online for more than fifty, I felt that I was fairly literate in the compositions of Paul McCartney. So imagine my surprise and delight last night, only two performances into their previously unreleased and […]
Even over fifty-five years later, my guest here In the Studio John Fogerty’s sound and vision on “Green River” and “Willy and the Poor Boys” were completely self-contained and, to this day, never duplicated.
The late Cars chief mechanic Ric Ocasek plus keyboardist Greg Hawkes tune up the story of 1979’s “Candy O” In the Studio on the album’s 45th anniversary.
For Memorial Day Weekend 2024: “Echoes In the Studio”, the voices of & tributes to fallen rockers. Part three of four.