Bio:
The origins of The Doors lay in a chance meeting between acquaintances and UCLA film school students Jim Morrison and Ray Manzarek on Venice Beach, California in July 1965. Morrison told Manzarek he had been writing songs and, at Manzarek's encouragement, sang "Moonlight Drive". Impressed by Morrison's lyrics, Manzarek suggested they form a band.
Keyboardist Ray Manzarek was in a band called Rick and The Ravens with his brother Rick Manzarek, while Robby Krieger and John Densmore were playing with The Psychedelic Rangers and knew Manzarek from yoga and meditation classes. In August, Densmore joined the group and along with members of the Ravens and bass player Patty Sullivan, recorded a six-song demo in September 1965. This was widely bootlegged and appeared in full on the 1997 Doors box set.That month the group recruited guitarist Robby Krieger and the final lineup — Morrison, Manzarek, Krieger and Densmore — was complete. The band took their name from the title of a book by Aldous Huxley, The Doors of Perception, which was in turn borrowed from a line in a poem by the 18th century artist and poet William Blake: "If the doors of perception were cleansed, every thing would appear to man as it is: infinite". [1]
The Doors were unusual among rock groups because they did not use a bass guitar when playing live. Instead, Manzarek played the bass lines with his left hand on the newly invented Fender Rhodes bass keyboard, an offshoot of the well-known Fender Rhodes electric piano, playing other keyboards with his right hand. On their studio albums, The Doors did use bass players such as Jerry Scheff, Doug Lubahn, Harvey Brooks, Kerry Magness, Lonnie Mack, Larry Knechtel, Leroy Vinegar, and Ray Neapolitan.
Many of The Doors' originals songs were group compositions, with Morrison or Krieger contributing the lyrics and an initial melody, and the others providing harmonic and rhythmic suggestions, or even entire sections of song (i.e. Manzarek's organ introduction to "Light My Fire").
There was a controversy with the release of the "Hello, I Love You" single in 1968, when the rock press pointed out the song's musical resemblance to The Kinks' 1965 hit "All Day and All of the Night". Members of the Kinks have concurred with music critics: Kinks guitarist Dave Davies has been known to add snippets of "Hello, I Love You" during solo live performances of "All Day and All of the Night" as a sarcastic commentary on the subject.[2] In concert, Morrison was occasionally dismissive of the song, and left the vocal chores to Manzarek.
By 1966 the group was playing The London Fog club and soon graduated to the prestigious Whisky a Go Go. On August 10, they were spotted by Elektra Records president Jac Holzman who was present at the recommendation of Love singer Arthur Lee, whose group was on Elektra. After Holzman and producer Paul A. Rothchild saw two sets of the band playing at the Whisky a Go Go, they signed them to the Elektra Records label on August 18—the start of a long and successful partnership with Rothchild and engineer Bruce Botnick.
The timing was fortuitous, because on August 21 the club fired the band after a profanity-filled performance of "The End". In an incident that foreshadowed the controversy that would follow the group, an acid-tripping Morrison raucously recited his own rendition of the Greek drama Oedipus Rex in which the play's protagonist Oedipus kills his father and has sex with his mother. Morrison's version consisted of "Father? Yes son? I want to kill you. Mother? I want to fuck you".
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