0:00:02 > 0:00:05- MUSIC: "The Movie" - 'The movie will begin in five moments
0:00:05 > 0:00:08'The mindless voice announced
0:00:08 > 0:00:11'All those unseated will await the next show...'
0:00:11 > 0:00:14This programme contains some strong language.
0:00:14 > 0:00:18LA Woman was like coming home
0:00:18 > 0:00:20and it was simple and bluesy
0:00:20 > 0:00:25and it was the bare bones, the essence of what we were about.
0:00:25 > 0:00:28Rock'n'roll was supposed to be out of a garage.
0:00:28 > 0:00:33- MUSIC: "The Changeling" - # I'm a changeling, see me change...
0:00:33 > 0:00:36The record has that feel to it -
0:00:36 > 0:00:40it's almost like a jam, you know.
0:00:40 > 0:00:44Uhh... It was probably the most fun album to make.
0:00:44 > 0:00:48- MUSIC: "Love Her Madly" - # Don't you love her face
0:00:48 > 0:00:53# Don't you love her as she's walking out the door...
0:00:54 > 0:00:59'1970. We had one last album to go and this could be our last album.'
0:00:59 > 0:01:03We're gonna make the album in this Zen moment in time,
0:01:03 > 0:01:08we didn't discuss the future, the end is always near.
0:01:08 > 0:01:11- MUSIC: "Riders On The Storm" - # Riders on the storm
0:01:12 > 0:01:15# Riders on the storm...
0:01:17 > 0:01:21This was the album that wrapped it all up in a neat bow
0:01:21 > 0:01:24and presented The Doors' essence to you personally.
0:01:24 > 0:01:29They found a unity that was what they needed to show their audience
0:01:29 > 0:01:33that they still had what everyone originally loved them for.
0:01:33 > 0:01:38Musically, I think it holds up. 40 years later, it's still fantastic.
0:01:38 > 0:01:41- MUSIC: "LA Woman" - # Well, I just got into town about an hour ago
0:01:44 > 0:01:47# Took a look around, see which way the wind blow
0:01:49 > 0:01:53# Where the little girls in their Hollywood bungalows?
0:01:55 > 0:01:58# Are you a lucky little lady in the city of light?
0:02:00 > 0:02:03# Or just another lost angel
0:02:03 > 0:02:05# City of night
0:02:05 > 0:02:07# City of night
0:02:08 > 0:02:10# City of night
0:02:11 > 0:02:14# City of night, whoo!...
0:02:14 > 0:02:18I'm telling you that right now there's a 16, 17, 18-year-old kid
0:02:18 > 0:02:22who's listening to The Doors for the first time
0:02:22 > 0:02:26as a new band and is getting his or her mind blown.
0:02:26 > 0:02:30- MUSIC: "Break On Through" - # You know, the day destroys the night
0:02:30 > 0:02:32# Night divides the day
0:02:32 > 0:02:35# Try to run, try to hide
0:02:35 > 0:02:38# Break on through to the other side
0:02:38 > 0:02:40# Break on through to the other side
0:02:40 > 0:02:43# Break on through to the other side, yeah...
0:02:43 > 0:02:48We were a four-man band, like the jazz quartet of rock'n'roll.
0:02:48 > 0:02:52- MUSIC: "Light My Fire" - # Come on, baby, light my fire
0:02:52 > 0:02:55# Come on, baby, light my fire
0:02:55 > 0:03:00# Try to set the night on... fire...
0:03:01 > 0:03:04The Doors sunk themselves very deeply
0:03:04 > 0:03:07into the cultural history of not only rock'n'roll,
0:03:07 > 0:03:10but of the United States.
0:03:10 > 0:03:14They had established themselves in the American consciousness,
0:03:14 > 0:03:17they had established themselves as special.
0:03:17 > 0:03:20By the time we get to '69,
0:03:20 > 0:03:23The Doors had achieved probably
0:03:23 > 0:03:26continental notoriety.
0:03:26 > 0:03:30- MUSIC: "The End" - # Father?
0:03:30 > 0:03:32# Yes, son
0:03:33 > 0:03:36# I want to kill you...
0:03:36 > 0:03:38We were the filthy, dirty Doors.
0:03:38 > 0:03:43I don't think they sought notoriety, but it sure did come to them.
0:03:46 > 0:03:48# Mother?...
0:03:49 > 0:03:54After all, the name The Doors comes from Aldous Huxley's book
0:03:54 > 0:03:56The Doors Of Perception.
0:03:56 > 0:03:58And that comes from William Blake -
0:03:58 > 0:04:01"If the doors of perception were cleansed,
0:04:01 > 0:04:05"men would see things as they are" - dot, dot, dot - "infinite".
0:04:05 > 0:04:10# Fuck you, Mama, all night long
0:04:10 > 0:04:15# Beware, Mama, gonna love you, baby, all night, yeah...
0:04:15 > 0:04:19There was an entire new culture being born.
0:04:19 > 0:04:22It was called the counterculture,
0:04:22 > 0:04:26but we thought it was the new culture to come,
0:04:26 > 0:04:28the culture of the 21st century.
0:04:28 > 0:04:34They were working on an intellectual and... lyrical level
0:04:34 > 0:04:37that was higher than most other people.
0:04:37 > 0:04:41They were, to me, right up there with the Beatles and Dylan.
0:04:41 > 0:04:43Jim led with his poetry.
0:04:43 > 0:04:48He didn't... He wasn't waving a flag and saying "Follow me".
0:04:48 > 0:04:50He reached into your heart,
0:04:50 > 0:04:55shook you and made you work out who you were and what mattered to you.
0:04:55 > 0:04:58- MUSIC: "People Are Strange" - # When you're strange
0:04:58 > 0:05:01# Faces come out of the rain
0:05:01 > 0:05:03# When you're strange
0:05:03 > 0:05:07# No-one remembers your name
0:05:07 > 0:05:09# When you're strange
0:05:09 > 0:05:11# When you're strange
0:05:11 > 0:05:14# When you're strange...
0:05:14 > 0:05:18- MUSIC: "Hello, I Love You - # Hello, I love you, won't you tell me your name
0:05:18 > 0:05:21# Hello, I love you, let me jump in your game
0:05:21 > 0:05:26# Hello, I love you, won't you tell me your name
0:05:26 > 0:05:30# Hello, I love you, let me jump in your game...
0:05:30 > 0:05:34We'd consider ourselves more a mirror of society.
0:05:34 > 0:05:37We were just commenting on what was going on.
0:05:37 > 0:05:40There were more things to explore, it was just beginning.
0:05:40 > 0:05:45I thought "We've done three albums in the same setting,
0:05:45 > 0:05:48"the same configuration - let's bring in
0:05:48 > 0:05:50"the horns and the strings."
0:05:50 > 0:05:54The idea of strings and horns was something Ray and I talked about
0:05:54 > 0:05:58before we even made our first album, because we loved jazz.
0:05:58 > 0:06:00It's something we wanted to
0:06:00 > 0:06:02experiment with and go through.
0:06:02 > 0:06:05- MUSIC: "Touch Me" - # Come on, come on, come on, come on now, touch me babe
0:06:07 > 0:06:12# Can't you see that I am not afraid
0:06:12 > 0:06:16# What was that promise that you made?
0:06:16 > 0:06:20# Why won't you tell me what she said?
0:06:20 > 0:06:24# What was that promise that you made?...
0:06:24 > 0:06:28They have hit records, records that people think are crap.
0:06:28 > 0:06:33They've actually done... the lifetime of experience
0:06:33 > 0:06:36compressed into less than four years.
0:06:36 > 0:06:40'What they did, first on Morrison Hotel and then on LA Woman,
0:06:40 > 0:06:42'was they went back to blues.'
0:06:42 > 0:06:44- MUSIC: "Roadhouse Blues" - # Keep your eyes on the road
0:06:44 > 0:06:48# Your hand upon the wheel
0:06:50 > 0:06:52# Keep your eyes on the road
0:06:52 > 0:06:56# Your hand upon the wheel
0:06:57 > 0:07:04# Yeah, we're going to the roadhouse, gonna have a real
0:07:04 > 0:07:05# Good time...
0:07:05 > 0:07:08They were a band appropriate to their times,
0:07:08 > 0:07:11on the edge of what was happening,
0:07:11 > 0:07:14and the edge is where you wanna be.
0:07:14 > 0:07:16MUSIC: "The Changeling"
0:07:16 > 0:07:20This is Changeling. This is the first song we recorded
0:07:20 > 0:07:24and it turned out to be the first song on the album.
0:07:24 > 0:07:29They come out with this kick-ass rocker called The Changeling
0:07:29 > 0:07:32and the first thing you hear Jim Morrison say
0:07:32 > 0:07:34is "Get loose".
0:07:34 > 0:07:38OK! I'm ready to get loose! Let's see what you got!
0:07:38 > 0:07:41# Get loose!
0:07:43 > 0:07:46I think, in a way, it anticipates
0:07:46 > 0:07:50his leaving - he's been through all this stuff.
0:07:50 > 0:07:54What else can you do as the singer in a rock band?
0:07:54 > 0:07:56# I live uptown
0:07:58 > 0:08:00# I live downtown
0:08:01 > 0:08:06# I live all around...
0:08:06 > 0:08:11'He's talking about himself, that he's a changeling, in that song.'
0:08:11 > 0:08:15He's just expressing what was gonna happen -
0:08:15 > 0:08:17"You're gonna see me change."
0:08:17 > 0:08:21# I had money
0:08:22 > 0:08:25# I had none
0:08:26 > 0:08:30# But I never been so broke that I couldn't leave
0:08:30 > 0:08:33# Town
0:08:33 > 0:08:37# I'm a changeling
0:08:37 > 0:08:40# See me change
0:08:41 > 0:08:44# I'm a changeling...
0:08:44 > 0:08:49We had been shot down in the streets in Kent State,
0:08:49 > 0:08:52Bobby Kennedy was dead, Martin Luther King was dead,
0:08:52 > 0:08:57our great leaders of peace had been assassinated -
0:08:57 > 0:09:00it was a terrible time.
0:09:01 > 0:09:03The racial problems
0:09:03 > 0:09:07in the United States were reaching a head
0:09:07 > 0:09:11and in 1970, Cambodia was invaded - the same year
0:09:11 > 0:09:13that LA Woman was made.
0:09:15 > 0:09:17# Get loose...
0:09:19 > 0:09:23Vietnam was, uh, really heating up,
0:09:23 > 0:09:27we were trying to get out, there were riots in the streets,
0:09:27 > 0:09:29a madness had swept across America.
0:09:29 > 0:09:31Jim felt that
0:09:31 > 0:09:34you change inside and then that'll change the world.
0:09:34 > 0:09:40He was not much on overt politics, but we were in the cyclone.
0:09:40 > 0:09:42The Changeling,
0:09:42 > 0:09:45to me, represented all these things we'd been going through
0:09:45 > 0:09:48for the last few years
0:09:48 > 0:09:53and the changes in America and the fact that we were the changeling.
0:09:53 > 0:09:57Janis Joplin and Jimi Hendrix died later in the year,
0:09:57 > 0:09:59both of overdoses,
0:09:59 > 0:10:01and, uh,
0:10:01 > 0:10:04and Jim was overdosing, on his drug,
0:10:04 > 0:10:06which was alcohol.
0:10:08 > 0:10:12# But I never been so broke that I couldn't leave
0:10:12 > 0:10:14# Town...
0:10:14 > 0:10:16Morrison, he'd been arrested,
0:10:16 > 0:10:20he'd been in court, he'd been crazy drunk,
0:10:20 > 0:10:23he had all the women he could want,
0:10:23 > 0:10:25he had been through all the things
0:10:25 > 0:10:31that a young man looking to take over the world aspires to.
0:10:31 > 0:10:34They were providing a kind of soundtrack
0:10:34 > 0:10:38for, uh, not only the counterculture,
0:10:38 > 0:10:42but for a... liberal consciousness
0:10:42 > 0:10:47that was in the process of growing and that they were part of.
0:10:47 > 0:10:50# Well, I'm the air you breathe
0:10:50 > 0:10:54# Food you eat, friends you greet
0:10:54 > 0:10:56# In the sullen street
0:10:56 > 0:10:58# Ow!
0:10:58 > 0:11:00# Ooh, wow!
0:11:00 > 0:11:03# Uh! Ow!
0:11:03 > 0:11:08# You gotta see me change!
0:11:08 > 0:11:10# See me change
0:11:11 > 0:11:14# Yeah, I'm leaving town
0:11:15 > 0:11:18# On a midnight train
0:11:19 > 0:11:22# Gonna see me change...
0:11:22 > 0:11:27It leads the album off and what happens after the album is done?
0:11:27 > 0:11:29He leaves town.
0:11:29 > 0:11:31He wasn't so broke
0:11:31 > 0:11:35that he had to stick around. He could leave everything behind him
0:11:35 > 0:11:37and attempt to find a new life
0:11:37 > 0:11:41in Paris or perhaps his death.
0:11:42 > 0:11:48- MUSIC: "Been Down So Long" - # Well, I've been down so goddamn long
0:11:48 > 0:11:52# That it looks like up to me...
0:11:52 > 0:11:57"Been down so long, it looks like up to me" - that's what he sings -
0:11:57 > 0:12:01he was feeling the full effect of the American justice system
0:12:01 > 0:12:05at a time when the American justice system had an axe to grind.
0:12:05 > 0:12:10My whole life with The Doors, they were attacked by the Establishment.
0:12:10 > 0:12:13The was a campaign to derail us.
0:12:14 > 0:12:19# Yeah, why don't one you people
0:12:19 > 0:12:24# Come on and set me free...
0:12:24 > 0:12:27The Doors created terror in the hearts of America
0:12:27 > 0:12:31because here was this whole generation of kids
0:12:31 > 0:12:35that were saying "No, that's not OK with me, I have a life",
0:12:35 > 0:12:38and there was no precedent for it.
0:12:38 > 0:12:40Miami was definitely a turning point
0:12:40 > 0:12:43in the career of The Doors.
0:12:43 > 0:12:45What an insane night it was.
0:12:45 > 0:12:49Hot and sweaty, 14,000 people,
0:12:49 > 0:12:54waiting for the Lizard King to come to Miami.
0:12:54 > 0:12:59'Jim is a Florida boy, he was coming home from California.'
0:12:59 > 0:13:03You know, I was born here in this state. You know that?
0:13:07 > 0:13:12I was born here in Melbourne, Florida, 1943.
0:13:14 > 0:13:17Then I got smart.
0:13:18 > 0:13:22Went out to a little city named Los Angeles.
0:13:22 > 0:13:26And he could see it, not as a performer or a fan,
0:13:26 > 0:13:30but almost as a... almost like a social scientist.
0:13:30 > 0:13:34The phenomenon of this engagement,
0:13:34 > 0:13:36of a rock band and an audience.
0:13:36 > 0:13:40And "what can I do with that? How can I mess with that?"
0:13:40 > 0:13:43You're all a bunch of fucking idiots!
0:13:43 > 0:13:45AUDIENCE SCREAMS AND SHOUTS
0:13:46 > 0:13:49You're all a bunch of slaves!
0:13:49 > 0:13:53Let the people tell you what you're gonna do!
0:13:53 > 0:13:57How much longer you gonna let 'em push you around?!
0:13:57 > 0:14:00There are no rules.
0:14:00 > 0:14:05There are no laws. Do whatever you wanna do. Do it!
0:14:05 > 0:14:07And Jim finally said to them
0:14:07 > 0:14:11"What do you want from us? We're a rock'n'roll band,
0:14:11 > 0:14:15"we play good songs, but you want something more, don't you?"
0:14:15 > 0:14:16"Yeah..."
0:14:16 > 0:14:20You believed Jim would do whatever he talked about.
0:14:20 > 0:14:22That was frightening to people.
0:14:22 > 0:14:27'Then Jim Morrison goes on to say "How about if I show you my cock?"'
0:14:27 > 0:14:30"Is that what you want?" And I'm going "Oh, my God,
0:14:30 > 0:14:34"the guy is drunk, he's gonna expose himself,
0:14:34 > 0:14:38"we are in some deep shit here, this is gonna be disastrous."
0:14:38 > 0:14:42This was torturing me because I had found my path in life
0:14:42 > 0:14:45and I loved music
0:14:45 > 0:14:50and our singer was... had a pact with the devil.
0:14:50 > 0:14:54They came looking for a riot and when they got one,
0:14:54 > 0:14:57the biggest fallout was on him.
0:14:57 > 0:15:00He got busted for indecent exposure,
0:15:00 > 0:15:04public profanity, public drunkenness
0:15:04 > 0:15:09and, my favourite - simulation of oral copulation.
0:15:09 > 0:15:13First the concert and then the aftereffect and then the trial
0:15:13 > 0:15:15weighed heavy on Jim's shoulders.
0:15:15 > 0:15:19'He determined that he would turn it into a test case.'
0:15:19 > 0:15:21What we're testing down there
0:15:21 > 0:15:26is the issue of artistic freedom of expression.
0:15:26 > 0:15:31He was found guilty on two counts, facing three years, perhaps less,
0:15:31 > 0:15:33a year and a half, in Raiford.
0:15:33 > 0:15:35Raiford Penitentiary.
0:15:35 > 0:15:38Jim was a free spirit,
0:15:38 > 0:15:40it was almost an insurmountable
0:15:40 > 0:15:43assault on his consciousness to threaten him with that.
0:15:43 > 0:15:47The tour was cancelled. We had a tour of 20 cities -
0:15:47 > 0:15:49Miami was city number one.
0:15:49 > 0:15:54We couldn't play anywhere. The hall owners' association had a meeting
0:15:54 > 0:15:59and banned us from most of the major halls in the United States.
0:15:59 > 0:16:03It almost killed the band and it probably killed Jim.
0:16:03 > 0:16:06It completely destroyed
0:16:06 > 0:16:11that thing an artist has when they know they're making a difference
0:16:11 > 0:16:13and suddenly, he's on the defensive.
0:16:13 > 0:16:17# Set me free!...
0:16:24 > 0:16:28"Well, OK, we can't play. Let's just record."
0:16:28 > 0:16:33I think going back into the studio was a way to get them refocused
0:16:33 > 0:16:38because... when they were in the studio,
0:16:38 > 0:16:42the reason they came together in the first place is obvious to them.
0:16:42 > 0:16:45'We get together at The Doors' workshop on the corner
0:16:45 > 0:16:47of La Cienega and Santa Monica.'
0:16:47 > 0:16:50The first question is "Anybody got any songs?"
0:16:50 > 0:16:54and Jim and Robby have a whole bunch, like they always did!
0:16:54 > 0:16:58The Doors had been... in rehearsal
0:16:58 > 0:17:01trying to get the new album together,
0:17:01 > 0:17:05what was to become the LA Woman album.
0:17:05 > 0:17:08I went to several rehearsals
0:17:08 > 0:17:11and Jim especially was really bored.
0:17:11 > 0:17:15Couldn't really get himself up for it.
0:17:15 > 0:17:19'Paul was not happy and when he left, the band was not happy
0:17:19 > 0:17:24'because he told them that he was not happy with what he had heard
0:17:24 > 0:17:27'and, uh, he walked out of that session.'
0:17:27 > 0:17:33I understand later that he convened the band and listened again.
0:17:33 > 0:17:35We played extremely badly.
0:17:35 > 0:17:38Riders On The Storm wasn't good.
0:17:38 > 0:17:42Which Paul Rothchild thought sounded like cocktail music.
0:17:42 > 0:17:47You couldn't get a good take of any kind of feel whatsoever.
0:17:47 > 0:17:50I said "This album is going to be a disaster."
0:17:50 > 0:17:55One moment, I just got up, went into the studio
0:17:55 > 0:17:58and said "Hey, listen, I'm bored."
0:17:58 > 0:18:02First time I've been in the studio and had my head on the console.
0:18:02 > 0:18:06And I told them "I love you guys and I love the music,
0:18:06 > 0:18:11"but it seems you're not turning me on and I'm not turning you on."
0:18:11 > 0:18:15Paul went home, we all just stood around in shock.
0:18:15 > 0:18:18So we decided "Hey, we'll do it ourselves,
0:18:18 > 0:18:22"we know how to make records by now, we've done five of 'em."
0:18:22 > 0:18:26"We got Bruce Botnik, who's probably the best engineer in town."
0:18:26 > 0:18:31Jim then says "Do we have to record here? I don't wanna record here."
0:18:31 > 0:18:36I said "What about your rehearsal studio? Would that work?
0:18:36 > 0:18:39"Are you comfortable there?" He said "We love it there."
0:18:39 > 0:18:43It was the room we had rehearsed in for ever.
0:18:43 > 0:18:46Our music was seeped into the walls
0:18:46 > 0:18:49and so it was very comfortable, it was home.
0:18:49 > 0:18:54They were cooking, working together, in the pocket all the time,
0:18:54 > 0:18:56they liked each other,
0:18:56 > 0:19:00they were getting along with each other,
0:19:00 > 0:19:02they just seemed happy.
0:19:02 > 0:19:06When they were playing downstairs and this stuff was just crackling,
0:19:06 > 0:19:11it was amazing to me, I was really excited about the new music.
0:19:11 > 0:19:14We just did it like a garage-band record.
0:19:14 > 0:19:19Now, that was brilliant. And it worked exquisitely.
0:19:19 > 0:19:22MUSIC: "Crawling King Snake"
0:19:40 > 0:19:44# Well, I'm the Crawling King Snake
0:19:44 > 0:19:49# And I rule my den
0:19:51 > 0:19:55# Well, I'm the Crawling King Snake
0:19:55 > 0:19:59# And I rule my den
0:20:03 > 0:20:07# Oh, give me what I want
0:20:07 > 0:20:10# Ain't gonna crawl no more...
0:20:16 > 0:20:19'We always loved to do Crawling King Snake,
0:20:19 > 0:20:24'it was one of our favourite John Lee Hooker songs.'
0:20:24 > 0:20:30I think we meant to do it years before and never got around to it
0:20:30 > 0:20:35and it being more of a bluesy album, it was the perfect time for it.
0:20:37 > 0:20:40# Yeah, don't mess round with my mate
0:20:40 > 0:20:42# Gonna love her
0:20:42 > 0:20:45# Myself...
0:20:46 > 0:20:48That blues element of The Doors
0:20:48 > 0:20:53kept them somewhat grounded, yet they were able to turn it
0:20:53 > 0:20:56into an other-wordly event,
0:20:56 > 0:21:01so Crawling King Snake was a call back to that roots that they loved.
0:21:01 > 0:21:04Jim thought of himself as an old blues man -
0:21:04 > 0:21:10he was a big fan of Muddy Waters and Howlin' Wolf and those blues guys -
0:21:10 > 0:21:14he loved the truth in the songs
0:21:14 > 0:21:18and the rawness of it and he related to it
0:21:18 > 0:21:22and if he had had a choice, he would've done that all the time.
0:21:22 > 0:21:25# Crawl
0:21:26 > 0:21:30# Come on, crawl
0:21:34 > 0:21:38# Get on out there on your hands and knees, yeah
0:21:39 > 0:21:42# Crawl all over me
0:21:43 > 0:21:48# Just like the spider on the wall
0:21:48 > 0:21:52# Yeah, crawl...
0:21:54 > 0:22:00Crawling King Snake is a wonderful costume for Jim to wear.
0:22:00 > 0:22:02He's playing a part,
0:22:02 > 0:22:05he thinks, but he is also the part.
0:22:05 > 0:22:09Invariably, Robby Krieger would have something - a genius.
0:22:09 > 0:22:13The Doors' secret weapon. He would always have something.
0:22:13 > 0:22:17And he'd say "I got one, it's called Love Her Madly."
0:22:17 > 0:22:21Like Duke Ellington would always say at the end of a concert,
0:22:21 > 0:22:23"We love you madly."
0:22:23 > 0:22:28Robby twists it to make Love Her Madly, plays it on the guitar...
0:22:28 > 0:22:31HE PLAYS "Love Her Madly
0:22:36 > 0:22:39# Don't you love her madly
0:22:39 > 0:22:42# Don't you need her badly
0:22:42 > 0:22:45# Don't you love her way
0:22:45 > 0:22:48# Tell me what you say
0:22:48 > 0:22:51# Don't you love her madly
0:22:51 > 0:22:53# Wanna be her daddy
0:22:53 > 0:22:58# Don't you love her as she's walking out the door #
0:23:00 > 0:23:04I knew that Love Her Madly, when it happened, was a hit.
0:23:04 > 0:23:07I just knew it. We all knew it.
0:23:07 > 0:23:10MUSIC: "Love Her Madly"
0:23:17 > 0:23:21I was fooling around on a 12-string guitar and the melody came to me.
0:23:21 > 0:23:25'My girlfriend, who became my wife, Lynn -
0:23:25 > 0:23:29'every time we had an argument, she used to go out the door
0:23:29 > 0:23:32'and she'd slam it so loud, the house would shake.'
0:23:32 > 0:23:36That's where I got the line "Walking out the door".
0:23:36 > 0:23:39A Minor. HE PLAYS CHORDS
0:23:44 > 0:23:46Tempo's like this.
0:23:46 > 0:23:49And... I've got it.
0:23:55 > 0:23:57'And then Jim starts to sing...'
0:23:57 > 0:24:00# Don't you love her madly
0:24:00 > 0:24:03# Don't you need her badly...
0:24:03 > 0:24:06Robby, uh, again,
0:24:06 > 0:24:11underestimated, not only as a guitar player, but as a songwriter.
0:24:11 > 0:24:15Look at all the hits he wrote - Light My Fire, Love Her Madly,
0:24:15 > 0:24:18Love Me Two Times, Tell All The People...
0:24:18 > 0:24:20# Don't you love her face
0:24:20 > 0:24:25# Don't you love her as she's walking out the door
0:24:26 > 0:24:31# Like she did one thousand times before
0:24:33 > 0:24:35# Don't you love her ways
0:24:35 > 0:24:39# Tell me what you say
0:24:39 > 0:24:44# Don't you love her as she's walking out the door...
0:24:46 > 0:24:51Don't you love her madly as she's walking out the door -
0:24:51 > 0:24:54what a great line! Of course you do!
0:24:54 > 0:24:59"I don't want to see you again! We're done! Oh, wait a minute..."
0:24:59 > 0:25:03I hear "Oh, God, I can put the Vox Continental in here!"
0:25:03 > 0:25:06HE PLAYS VOX CONTINENTAL ORGAN
0:25:13 > 0:25:16# Seven horses seem to be on the...
0:25:16 > 0:25:18# Mark
0:25:20 > 0:25:23HE PLAYS ORGAN SOLO
0:25:33 > 0:25:38# Yeah, don't you love her
0:25:38 > 0:25:43# Don't you love her as she's walking out the door...
0:25:45 > 0:25:48The Doors' greatest strength as songwriters
0:25:48 > 0:25:52is that they didn't think of themselves as individual writers
0:25:52 > 0:25:54coming in with their bit,
0:25:54 > 0:25:57they thought of themselves as a songwriting band.
0:25:57 > 0:26:01I thought it was, uh, a little too commercial,
0:26:01 > 0:26:03you know, for the first single.
0:26:03 > 0:26:07There was a special advantage to my not being at the sessions -
0:26:07 > 0:26:10I got my own first-blush reactions to things
0:26:10 > 0:26:15and when the hair stands up at the back of my neck on a song,
0:26:15 > 0:26:19that's one I pay attention to, and it happened for Love Her Madly.
0:26:19 > 0:26:24That was the first time we'd tried playing with another guitar player,
0:26:24 > 0:26:26with a rhythm-guitar player,
0:26:26 > 0:26:32we wanted to feel live so we figured we'd get this guy Mark Benno
0:26:32 > 0:26:36and he just played the perfect rhythm stuff,
0:26:36 > 0:26:42which allowed me to go ahead and play my leads at the same time.
0:26:42 > 0:26:47And Bruce Botnik brings in Jerry Scheff, Elvis Presley's bass player.
0:26:47 > 0:26:52Jim just lit up like a... He was happy as a camper -
0:26:52 > 0:26:56"Elvis Presley's bass player, with us?" I said "Yeah",
0:26:56 > 0:26:59so I called Jerry and he said "I'd love to do it."
0:26:59 > 0:27:04'He did some brilliant stuff - that bass line on LA Woman? Holy cow!'
0:27:04 > 0:27:08HE PLAYS RISING CHORD
0:27:08 > 0:27:12'LA Woman, in some respects, is film noir -
0:27:12 > 0:27:14'rock'n'roll film noir.'
0:27:14 > 0:27:19I remember going downtown LA when you just walked the streets
0:27:19 > 0:27:25and it smelled like one of those old black-and-white film-noir movies.
0:27:26 > 0:27:29'For me, a Los Angeles native,
0:27:29 > 0:27:32'it's our anthem.'
0:27:32 > 0:27:38What describes LA better than LA Woman? Answer - nothing.
0:27:38 > 0:27:42The quintessential expression of what living in California was like.
0:27:42 > 0:27:45Women took him in and fed him.
0:27:45 > 0:27:50But women fed him in many ways, not only with food, but with support,
0:27:50 > 0:27:53with sex, with emotion, with booze,
0:27:53 > 0:27:57and he was thanking them in this song, but he was leaving them,
0:27:57 > 0:27:59leaving the city he loved.
0:27:59 > 0:28:01MUSIC: "LA Woman"
0:28:01 > 0:28:04# Well, I just got into town about an hour ago
0:28:07 > 0:28:11# Took a look around, see which way the wind blow
0:28:12 > 0:28:16# Where the little girls in their Hollywood bungalows?
0:28:18 > 0:28:21# Are you a lucky little lady in the city of light?
0:28:24 > 0:28:26# Or just another lost angel
0:28:26 > 0:28:28# City of night
0:28:28 > 0:28:31# City of night
0:28:31 > 0:28:34# City of night
0:28:34 > 0:28:36# City of night, whoo! Come on!...
0:28:36 > 0:28:41'"City of night" is a reference to John Rechy's LA homosexual novel,
0:28:41 > 0:28:44'great novel, called City Of Night.'
0:28:44 > 0:28:48So he's got his literary reference in there - another lost angel
0:28:48 > 0:28:51in the city of night - wow.
0:28:51 > 0:28:56The lyrics were so good and they were so... so Raymond Chandler,
0:28:56 > 0:28:59so, uh, Nathanael West,
0:28:59 > 0:29:01so 1930s, '40s,
0:29:01 > 0:29:04dark, seamy side of Los Angeles,
0:29:04 > 0:29:08a place where Jim would easily go.
0:29:11 > 0:29:14# LA woman
0:29:14 > 0:29:17# LA woman
0:29:17 > 0:29:20# LA woman, Sunday afternoon
0:29:22 > 0:29:25# LA woman, Sunday afternoon
0:29:28 > 0:29:31# LA woman, Sunday afternoon
0:29:31 > 0:29:33# Drive through your suburbs
0:29:33 > 0:29:36# Into your blues
0:29:36 > 0:29:38# Into your blues, yeah
0:29:38 > 0:29:41# Into your blues, blues, blues...
0:29:41 > 0:29:44Here we go with the raised piano solo.
0:29:44 > 0:29:47PIANO SOLO
0:29:47 > 0:29:51- HE FADES OUT ACCOMPANIMENT - And this was an overdub.
0:29:53 > 0:29:57It works perfectly with his Wurlitzer piano.
0:30:01 > 0:30:05FADES INTO ORGAN SOLO
0:30:07 > 0:30:10Al Kooper's band, Blood, Sweat & Tears,
0:30:10 > 0:30:14play a song called Day In The Country - that's what I play.
0:30:14 > 0:30:17HE PLAYS SOLO
0:30:19 > 0:30:22HE FADES ACCOMPANIMENT BACK IN
0:30:22 > 0:30:27'I think he liked that part of LA, that you could be a stranger in LA.'
0:30:27 > 0:30:30You could hide behind the beard and get away with it.
0:30:30 > 0:30:34# I see your hair is burning
0:30:36 > 0:30:39# Hills are filled with fire...
0:30:39 > 0:30:44"I see your hair is burning, hills are filled with fire" -
0:30:44 > 0:30:50that's what poetry is - in a few words, you create this entire world.
0:30:50 > 0:30:54This guy who... who had words -
0:30:54 > 0:30:58they were so percussive, I immediately heard rhythms.
0:30:58 > 0:31:02Here's John on drums, you hear what he's doing.
0:31:02 > 0:31:04# ..I never loved...
0:31:04 > 0:31:06DRUMS WITHOUT ACCOMPANIMENT
0:31:08 > 0:31:10This is all on one track.
0:31:10 > 0:31:14We had to decide in those days, it was recorded on eight-track.
0:31:14 > 0:31:17HE PLAYS BASS AND DRUM TRACK
0:31:17 > 0:31:19So we locked it in.
0:31:19 > 0:31:23This is how they're locked together, John and Jerry Scheff.
0:31:23 > 0:31:26Great player, great feel.
0:31:26 > 0:31:28Drummers and bass players
0:31:28 > 0:31:31are... brothers
0:31:31 > 0:31:34in the basement, cooking up the groove.
0:31:34 > 0:31:37'They're bonded.'
0:31:37 > 0:31:40# Motel money, murder madness
0:31:43 > 0:31:45# Change the mood from glad to sadness...
0:31:55 > 0:31:59And then Morrison says the classic line - an anagram of his name -
0:31:59 > 0:32:04Jim Morrison, play with the letters, turn them around,
0:32:04 > 0:32:06and you come up with...
0:32:06 > 0:32:10# Mr Mojo Risin...
0:32:12 > 0:32:17# Mr Mojo Risin...
0:32:18 > 0:32:22It was that quality of being stronger than everything around you
0:32:22 > 0:32:25and of climbing up out of that -
0:32:25 > 0:32:28Mr Mojo risin - it's a brilliant image.
0:32:28 > 0:32:30And it comes from blues -
0:32:30 > 0:32:34"I got my mojo workin'", Muddy Waters, Willie Dixon.
0:32:34 > 0:32:38"Mojo" was a blues term for sexuality
0:32:38 > 0:32:42and so I thought "Well,
0:32:42 > 0:32:47"what if I slowly increase the tempo like an orgasm?"
0:32:47 > 0:32:50- TEMPO GRADUALLY QUICKENS - # Keep on risin'
0:32:50 > 0:32:53# Ridin', ridin'
0:32:53 > 0:32:56# Gone ridin', ridin'...
0:32:56 > 0:32:59Listen to this scream from Jim.
0:32:59 > 0:33:02(GUTTURAL) # I gotta ridin', ridin'
0:33:02 > 0:33:05# Yeah, ridin', ridin'
0:33:05 > 0:33:07# I gotta whoo! Yeah! Ridin'!
0:33:07 > 0:33:10# Oh!
0:33:11 > 0:33:13# Yeah...
0:33:13 > 0:33:17He was obviously having fun, enjoying himself.
0:33:17 > 0:33:20Yeah! The energy level in the room went from here to... whoa!
0:33:20 > 0:33:24Overhead... We were operating up here.
0:33:24 > 0:33:28Energy is up here. Doors operated up there, the four of us, quite a lot.
0:33:28 > 0:33:33The song LA Woman was totally put together in the studio,
0:33:33 > 0:33:35just from sitting around jamming,
0:33:35 > 0:33:39you know... So I always say that's the quintessential Doors song
0:33:39 > 0:33:41because of the way we wrote it.
0:33:41 > 0:33:44Here comes Robby's solo.
0:33:44 > 0:33:47HE PLAYS SOLO
0:34:00 > 0:34:02HE BRINGS ACCOMPANIMENT BACK IN
0:34:02 > 0:34:05You need to be
0:34:05 > 0:34:09in a car... with that on 10
0:34:09 > 0:34:11and screaming down the freeway,
0:34:11 > 0:34:15in Los Angeles, listening to LA Woman - you'll get that song.
0:34:15 > 0:34:18# LA woman
0:34:18 > 0:34:21# LA woman
0:34:21 > 0:34:23# You're my woman
0:34:23 > 0:34:25# Oh, little LA woman...
0:34:25 > 0:34:27'LA Woman, you know,
0:34:27 > 0:34:31'the metaphor of the city as a woman is brilliant.'
0:34:31 > 0:34:34"Cops in cars", "Never saw a woman so alone" -
0:34:34 > 0:34:37this is just great stuff.
0:34:37 > 0:34:41It's metaphoric, he's looking at the physicality of the town
0:34:41 > 0:34:44and thinking of "her"
0:34:44 > 0:34:47and, uh... we need to take care of her.
0:34:47 > 0:34:49It's my hometown.
0:34:49 > 0:34:52So let's nurture the LA Woman.
0:34:53 > 0:34:57MUSIC: "The Wasp (Texas Radio And The Big Beat)"
0:35:10 > 0:35:14I wanna tell you about Texas Radio and the Big Beat.
0:35:16 > 0:35:20It comes out of the Virginia swamps, cool and slow,
0:35:20 > 0:35:24with a backbeat, narrow and hard to master.
0:35:24 > 0:35:27Some call it heavenly in its brilliance,
0:35:27 > 0:35:32others, mean and rueful of the Western dream.
0:35:33 > 0:35:38I love the friends I have gathered together on this thin raft.
0:35:40 > 0:35:45We've constructed pyramids in honour of our escaping.
0:35:45 > 0:35:48This is the land where the Pharaoh died...
0:35:48 > 0:35:50Texas Radio And The Big Beat.
0:35:50 > 0:35:54Jim used to recite that as poetry
0:35:54 > 0:35:56in concert.
0:35:56 > 0:35:59But he didn't have the little bridges
0:35:59 > 0:36:01that he sang.
0:36:01 > 0:36:05'And I remember Ray saying "What about Texas Radio?
0:36:05 > 0:36:08"We've never really done it."
0:36:08 > 0:36:12Forget the night.
0:36:12 > 0:36:16Live with us in forests of azure.
0:36:19 > 0:36:22Meagre food for souls forgot...
0:36:22 > 0:36:25There was that thing about Morrison all the time.
0:36:25 > 0:36:28It wasn't so much about the music,
0:36:28 > 0:36:30but about what this guy represented.
0:36:30 > 0:36:32What was he talking about?
0:36:32 > 0:36:36What was he saying? What was he trying to tell us?
0:36:36 > 0:36:39"I wanna tell you about Texas Radio and the Big Beat."
0:36:39 > 0:36:43There's Jim eating his microphone.
0:36:45 > 0:36:48"It comes out of the Virginia swamps, cool and slow,
0:36:48 > 0:36:50"with plenty of precision
0:36:50 > 0:36:53"and a backbeat, narrow and hard to master..."
0:36:53 > 0:36:55And then a solo...
0:36:55 > 0:37:00John and... Jim, so you can hear how they're working together.
0:37:00 > 0:37:03"Some call it heavenly in its brilliance,
0:37:03 > 0:37:07"others, mean and rueful of the Western dream."
0:37:07 > 0:37:13- STEADY BASS AND DRUM RHYTHM - "I love the friends I have gathered together in this thin raft."
0:37:13 > 0:37:16"We have constructed pyramids in honour of our escaping."
0:37:16 > 0:37:19"This is the land where the Pharaoh died..."
0:37:19 > 0:37:22HE BRINGS KEYBOARDS IN
0:37:23 > 0:37:28This is a great example of a song starting as a seed
0:37:28 > 0:37:31and flowering and becoming a complete song
0:37:31 > 0:37:36and not doing it over a period of days.
0:37:36 > 0:37:38It was a poem
0:37:38 > 0:37:42and this lick - # Da-da boom boom boom da da-da
0:37:42 > 0:37:46# Da da-da-da dum... # I don't know why, I kept the beat...
0:37:46 > 0:37:49HE PLAYS STEADY BEAT
0:37:49 > 0:37:53But then I decided to follow the melody
0:37:53 > 0:37:55with my snare drum.
0:37:55 > 0:37:57HE PLAYS RHYTHM
0:37:59 > 0:38:02HE SINGS AND PLAYS RHYTHM
0:38:02 > 0:38:04# ..loss of God
0:38:04 > 0:38:08# I'll tell you about the hopeless night, the meagre food for souls forgot
0:38:08 > 0:38:13# I'll tell you about the maiden with wrought-iron soul...
0:38:13 > 0:38:16You know, those stations in Mexico,
0:38:16 > 0:38:18they broadcasted across the border.
0:38:18 > 0:38:23'Wolfman Jack broadcasted from south of the border across the south,
0:38:23 > 0:38:26'playing wild R&B and howling at the moon
0:38:26 > 0:38:30'and a lot of kids Jim's age would've heard these things.'
0:38:30 > 0:38:35"Let me tell you about Texas Radio And The Big Beat",
0:38:35 > 0:38:38"the negroes in the forest" -
0:38:38 > 0:38:41that scene that he paints is so primal.
0:38:42 > 0:38:45# The negroes in the forest, brightly feathered
0:38:45 > 0:38:48# And they are saying "Forget the night
0:38:48 > 0:38:52# "Live with us in forests of azure
0:38:52 > 0:38:55- HE FADES OUT ACCOMPANIMENT - # "Out here in the perimeter, there are no stars
0:38:55 > 0:38:59# "Out here, we is stoned, immaculate"...
0:38:59 > 0:39:03Man, that is one of the greatest lines ever written
0:39:03 > 0:39:09because when you are stoned and you are out there on the perimeter,
0:39:09 > 0:39:11you are immaculate.
0:39:11 > 0:39:15This is psychedelics, this is expanding one's consciousness,
0:39:15 > 0:39:20this was a journey to become immaculate.
0:39:20 > 0:39:23Jim's... life
0:39:23 > 0:39:25was poetry
0:39:25 > 0:39:28with all of the tumult,
0:39:28 > 0:39:31the lack of rhyme,
0:39:31 > 0:39:33the free style that life has.
0:39:33 > 0:39:40I don't think there was a better poet of Jim's age, of Jim's time.
0:39:40 > 0:39:44# Now, listen to this, I'll tell you about Texas
0:39:44 > 0:39:48# I'll tell you about Texas radio
0:39:48 > 0:39:52# I'll tell you about the hopeless night, wandering the Western dream
0:39:52 > 0:39:56# I'll tell you about the maiden with wrought-iron soul #
0:39:56 > 0:39:58Near the end of the mixing,
0:39:58 > 0:40:04Jim... said that he wanted to go to Paris.
0:40:04 > 0:40:07In one of my photos of the recording studio,
0:40:07 > 0:40:12there's a chalkboard and written on it are the words "A clean slate".
0:40:12 > 0:40:14'Jim needed a clean slate.'
0:40:14 > 0:40:19I think that was his gift to the band - he could go do what he wanted
0:40:19 > 0:40:22if he worked with them on this... next album,
0:40:22 > 0:40:25which, I think, he thought would be his last.
0:40:25 > 0:40:29He said "I'm going to Paris" and we said "We're not finished!
0:40:29 > 0:40:32"We haven't mixed all the songs!"
0:40:32 > 0:40:36He said "Everything is fine, I've done my vocals,
0:40:36 > 0:40:39"it's sounding great, I'm going to Paris with Pam."
0:40:39 > 0:40:44I did not really think, especially after I said goodbye to Jim,
0:40:44 > 0:40:47that he would ever come back as a member of any band.
0:40:47 > 0:40:50No question - Jim announced he was resigning.
0:40:50 > 0:40:53He was going to be a writer.
0:40:53 > 0:40:56And it wasn't "I'll never talk to you again",
0:40:56 > 0:41:00it was "This is what I'm gonna do with my life and see what happens."
0:41:00 > 0:41:03Obviously he was kind of messed up
0:41:03 > 0:41:06and we said "Hey, man, great,
0:41:06 > 0:41:09"do what you have to do
0:41:09 > 0:41:12"and when you come back, we'll worry about this", you know.
0:41:12 > 0:41:16So, I mean, it sounded like a good idea to us.
0:41:16 > 0:41:19Unfortunately, it didn't turn out that way.
0:41:19 > 0:41:21And off he went to Paris.
0:41:21 > 0:41:25I never saw him again. I never even talked to him again.
0:41:25 > 0:41:28He was only there three, four months.
0:41:36 > 0:41:38We're all riders on the storm.
0:41:38 > 0:41:41I think that's everybody
0:41:41 > 0:41:44who... has had vicissitudes in life,
0:41:44 > 0:41:48love in life, disappointments,
0:41:48 > 0:41:53uh... never knowing exactly what's going to happen next,
0:41:53 > 0:41:58facing everything, a bravery that we all have just to be alive.
0:41:58 > 0:42:00It's not easy out there.
0:42:00 > 0:42:03THUNDERCLAP
0:42:08 > 0:42:11MUSIC: "Riders On The Storm"
0:42:19 > 0:42:21Riders On The Storm -
0:42:21 > 0:42:25a little more jazzy, darker, has that melancholy,
0:42:25 > 0:42:30but it has that rolling feel of a band playing together.
0:42:37 > 0:42:40# Riders on the storm
0:42:42 > 0:42:45# Riders on the storm
0:42:46 > 0:42:49# Into this house we're born
0:42:50 > 0:42:54# Into this world we're thrown
0:42:55 > 0:43:00# Like a dog without a bone, an actor out on loan
0:43:00 > 0:43:03# Riders on the storm
0:43:04 > 0:43:08# There's a killer on the road
0:43:09 > 0:43:13# His brain is squirming like a toad
0:43:14 > 0:43:17# Take a long holiday
0:43:19 > 0:43:22# Let your children play
0:43:23 > 0:43:29# If you give this man a ride, sweet family will die
0:43:29 > 0:43:31# Killer on the road...
0:43:31 > 0:43:35Riders... has this mood,
0:43:35 > 0:43:38it originally came from us jamming
0:43:38 > 0:43:43- on this Ghost Riders In The Sky... - HE HUMS TUNE
0:43:45 > 0:43:50# An old cowpoke went riding out one dark and windy day
0:43:50 > 0:43:55# Upon a ridge he rested as he went along his way
0:43:55 > 0:43:59# When all at once a mighty herd of red-eyed cows he saw
0:43:59 > 0:44:02# A-ploughing through the ragged sky
0:44:02 > 0:44:06# And up the cloudy draw
0:44:06 > 0:44:09# Yippee-ay-ayyyyy
0:44:09 > 0:44:13# Yippee-ay-ohhhh
0:44:13 > 0:44:19# The ghost riders in the sky... #
0:44:19 > 0:44:24We're jamming and it's got this Western, Clint Eastwood mood...
0:44:24 > 0:44:27HE PLAYS "Ghost Riders" TUNE
0:44:30 > 0:44:33And from there, it morphed into more of like a...
0:44:33 > 0:44:36HE PLAYS VARIATION
0:44:47 > 0:44:50HE PLAYS RHYTHMIC MELODY
0:44:50 > 0:44:54And it kind of turned into Riders On The Storm.
0:44:54 > 0:44:57Jim changed the words from Ghost Riders In The Sky
0:44:57 > 0:44:59to Riders On The Storm.
0:44:59 > 0:45:02I said "That's great, Riders On The Storm,
0:45:02 > 0:45:04"but we can't do Vaughn Monroe -
0:45:04 > 0:45:09"the old cowpoke went riding out one dark and windy day"."
0:45:09 > 0:45:14So I said "Let me see what I can do" and here's what I came up with.
0:45:14 > 0:45:17HE PLAYS INTRODUCTION We gotta put some jazz to it, make it dark.
0:45:24 > 0:45:27And sure enough, this is what happened.
0:45:27 > 0:45:30HE PLAYS MELODY
0:45:31 > 0:45:34# There's a killer on the road
0:45:35 > 0:45:39# His brain is squirming like a toad
0:45:40 > 0:45:43# Take a long holiday
0:45:45 > 0:45:47# Let your children play
0:45:49 > 0:45:54# If you give this man a ride, sweet family will die
0:45:54 > 0:45:56# Killer on the road...
0:45:56 > 0:46:01Jerry Scheff says "What's the bass line?" I say "Like, simple." HE PLAYS BASS LINE
0:46:01 > 0:46:03E Minor, A Major.
0:46:03 > 0:46:07He said "That's impossible." I said "What? For you?!"
0:46:07 > 0:46:09Here's Jerry Scheff by himself.
0:46:09 > 0:46:12BASS LINE
0:46:12 > 0:46:16And he's basically playing what Ray would've played on his left hand
0:46:16 > 0:46:20if he was playing a piano bass, but with some latitude,
0:46:20 > 0:46:23because what Ray could play with his left hand
0:46:23 > 0:46:28couldn't always translate into a bass, like those little slides.
0:46:30 > 0:46:34At this point, singing this vocal, he knew he was going to Paris
0:46:34 > 0:46:37and he was singing his love
0:46:37 > 0:46:39to Pam.
0:46:39 > 0:46:42# Girl, you gotta love your man
0:46:43 > 0:46:46# Girl, you gotta love your man
0:46:48 > 0:46:51# Take him by the hand
0:46:53 > 0:46:56# Make him understand
0:46:58 > 0:47:03# The world on you depends, our life will never end
0:47:03 > 0:47:07# Gotta love your man, yeah...
0:47:11 > 0:47:14- KEYBOARD SOLO - And here's Ray's solo.
0:47:14 > 0:47:20He was taken direct, which means he wasn't playing through an amplifier
0:47:20 > 0:47:23and it was direct injection into the console.
0:47:23 > 0:47:25HE FADES OUT ACCOMPANIMENT
0:47:25 > 0:47:28KEYBOARD SOLO
0:47:28 > 0:47:31HE PLAYS KEYBOARD SOLO
0:48:04 > 0:48:07More thunder, bring in the thunder.
0:48:07 > 0:48:09THUNDER ROLLS IN
0:48:15 > 0:48:18The loneliness
0:48:18 > 0:48:21that that song conjures up
0:48:21 > 0:48:24about how we are here
0:48:24 > 0:48:29in this... torment that we call the world,
0:48:29 > 0:48:33trying to keep our heads above the fray,
0:48:33 > 0:48:36above the surf, above the storm.
0:48:36 > 0:48:40(WHISPERING) Riders on the storm...
0:48:41 > 0:48:45Riders on the storm...
0:48:46 > 0:48:50That whisper voice that's just singing "Riders on the storm" -
0:48:50 > 0:48:54you can hear that in the last two "Riders on the storms".
0:48:54 > 0:48:58That's Jim's spirit whispering to us from the ether,
0:48:58 > 0:49:00from the beyond.
0:49:00 > 0:49:02MUSIC: "Cars Hiss By My Window"
0:49:02 > 0:49:04# Whee-ooh
0:49:14 > 0:49:18# The cars hiss by my window
0:49:18 > 0:49:22# Like the waves down on the beach...
0:49:22 > 0:49:27My last message to Jim after he'd gone to Paris,
0:49:27 > 0:49:31I told him I'd just quit drinking and it was time for him to quit too.
0:49:31 > 0:49:37He sounded... lonely and distant, as if it wasn't panning out for him.
0:49:38 > 0:49:41'Maybe it was the cycle of alcoholism
0:49:41 > 0:49:44'that ended his life there.'
0:49:44 > 0:49:46# But she's
0:49:46 > 0:49:50# Out of reach
0:49:55 > 0:49:58# Headlight through my window
0:49:58 > 0:50:02# Shining on the wall...
0:50:04 > 0:50:07Jim went in to take a hot bath
0:50:07 > 0:50:12and she describes finding him the next morning - she'd gone to sleep
0:50:12 > 0:50:15and he had died in the bathtub, on his back.
0:50:15 > 0:50:19She said he was smiling - I'm glad to hear that.
0:50:19 > 0:50:22When I heard, I didn't believe it,
0:50:22 > 0:50:25because he just, uh...
0:50:25 > 0:50:30seemed like this Irish drunk who was gonna party till 80.
0:50:30 > 0:50:32Jim was so larger than life.
0:50:32 > 0:50:36The way he was, I couldn't imagine him dead.
0:50:36 > 0:50:40We knew from the gravity of the reports from Paris
0:50:40 > 0:50:44and hearing from Bill Siddons, the manager,
0:50:44 > 0:50:49who had gone there to help to arrange the burial,
0:50:49 > 0:50:52that this was all too real.
0:50:52 > 0:50:56The phone rang, Monday morning at 4.30,
0:50:56 > 0:51:01and my wife Cheri sat bolt upright when the phone started ringing
0:51:01 > 0:51:03and said "Jim's dead."
0:51:03 > 0:51:07And I looked at her and went "What?" and I answered the phone
0:51:07 > 0:51:11and it was Clive Selwood, our label manager in the UK
0:51:11 > 0:51:15telling me that three different journalists had called him
0:51:15 > 0:51:17and told him that Jim had died.
0:51:17 > 0:51:22'I got the 3.30 plane and was in Paris at 6.30 the next morning.'
0:51:22 > 0:51:27'I just held her for a minute and the coffin was in the living room.'
0:51:27 > 0:51:30I literally spent hours with Pamela, just talking.
0:51:30 > 0:51:35And she said "He told me when he was there, when he died,
0:51:35 > 0:51:39"he wanted to be buried in Pere Lachaise." It was beautiful,
0:51:39 > 0:51:43he knew that that's where he wanted to be buried.
0:51:43 > 0:51:48'I thought there was something completely right about doing this
0:51:48 > 0:51:53and I was clear, having been through a number of press debacles,
0:51:53 > 0:51:56that the best thing was to not tell anybody.
0:51:56 > 0:52:00'We're gonna do it our way, we're gonna bury a poet.'
0:52:00 > 0:52:04I lost the best writing partner anybody's ever had,
0:52:04 > 0:52:06our whole life was gone.
0:52:06 > 0:52:11I loved, uh... playing music to his words
0:52:11 > 0:52:13and, uh...
0:52:13 > 0:52:17and that's what I miss terribly. I don't miss his self-destruction.
0:52:17 > 0:52:19'For him, they went hand in hand.'
0:52:19 > 0:52:23Whenever we lose a creative person, we lose something
0:52:23 > 0:52:25that can be added to the culture
0:52:25 > 0:52:28to make the culture
0:52:28 > 0:52:30richer and brighter.
0:52:30 > 0:52:32'I think with Jim's death,
0:52:32 > 0:52:36'one of the lights of the '60s... went out.'
0:52:39 > 0:52:42HE PLAYS INTRODUCTION TO "Hyacinth House"
0:52:55 > 0:53:00Hyacinth House was the loneliest song Jim ever wrote.
0:53:00 > 0:53:05"What are they doing in the Hyacinth House to feed the lions these days?"
0:53:05 > 0:53:07"I need a brand-new friend who doesn't bother me,
0:53:07 > 0:53:09"who doesn't need me."
0:53:09 > 0:53:12MUSIC: "Hyacinth House"
0:53:21 > 0:53:27# What are they doing in the Hyacinth House?
0:53:27 > 0:53:31# What are they doing in the Hyacinth House
0:53:31 > 0:53:34# To please the lions
0:53:35 > 0:53:39# Yeah, this day?...
0:53:43 > 0:53:49- HE PLAYS VOCAL TRACK - # I need a brand-new friend
0:53:49 > 0:53:52- # Who doesn't trouble me - HE FADES ACCOMPANIMENT BACK IN
0:53:53 > 0:53:57# I need someone
0:53:57 > 0:54:03# Yeah, who doesn't need me...
0:54:03 > 0:54:09"I don't want friends that need me or people who are leaning on me,
0:54:09 > 0:54:14"I'm only 27, let me go, I need a new friend who doesn't need me."
0:54:14 > 0:54:18Is he referring to... his main squeeze
0:54:18 > 0:54:22or is he referring to his friends like me, to the band?
0:54:22 > 0:54:24I think he's referring to everybody,
0:54:24 > 0:54:27he's saying "Let me be somebody else."
0:54:27 > 0:54:30To be frank, the last few years of his life,
0:54:30 > 0:54:34there were several "friends" he was hanging with
0:54:34 > 0:54:37that were kind of... you know,...
0:54:38 > 0:54:44..idolising him and didn't discourage his substance abuse.
0:54:44 > 0:54:47So, were those friends?
0:54:47 > 0:54:51Losing some of the hangers-on who were dragging him down,
0:54:51 > 0:54:56if you hang out with drug takers, you're not necessarily getting
0:54:56 > 0:54:58French symbolist poets,
0:54:58 > 0:55:01you get creeps and weirdos.
0:55:01 > 0:55:04HE PLAYS ORGAN TRACK
0:55:12 > 0:55:16Here's a chance for me to quote one of my fellow people,
0:55:16 > 0:55:19man from Poland, Mr Chopin,
0:55:19 > 0:55:24so I'm doing a little Chopin Polonaise, my solo.
0:55:24 > 0:55:26HE PLAYS ORGAN SOLO
0:55:41 > 0:55:43And Jim sings...
0:55:43 > 0:55:47# And I'll say it again
0:55:48 > 0:55:53# I need a brand-new friend...
0:55:53 > 0:55:57I spent time in the studio with them and they were having a good time.
0:55:57 > 0:56:00They were wonderful songs.
0:56:00 > 0:56:04Uh, The Changeling was kind of a tribute to James Brown.
0:56:04 > 0:56:06Uh, Love Her Madly
0:56:06 > 0:56:12was clearly the single, so I knew I had a single for AM radio
0:56:12 > 0:56:15and LA Woman and Riders On The Storm for FM radio -
0:56:15 > 0:56:17those were guaranteed.
0:56:17 > 0:56:20It was a terrific record.
0:56:20 > 0:56:22MUSIC: "LA Woman"
0:56:33 > 0:56:36If you're gonna have an epitaph, one last record,
0:56:36 > 0:56:39then, that was the record to make.
0:56:39 > 0:56:42The Doors are a living energy -
0:56:42 > 0:56:46when I play them tonight, they will mean something to my audience -
0:56:46 > 0:56:49that music speaks to you and me,
0:56:49 > 0:56:52it speaks to kids and to people older than us.
0:56:52 > 0:56:56It was an incredible statement of how strong they were as a band
0:56:56 > 0:57:00and what a unique and extraordinary partnership they were.
0:57:03 > 0:57:06# Took a look around, see which way the wind blow...
0:57:08 > 0:57:14You can feel the warmth and the liveness of it,
0:57:14 > 0:57:16it was a most spontaneous album.
0:57:16 > 0:57:21Jim got empowered by us producing LA Woman ourselves, you know -
0:57:21 > 0:57:25we all did - cos we made all the decisions
0:57:25 > 0:57:27and it was inspiring.
0:57:27 > 0:57:31I don't think that imagination,
0:57:31 > 0:57:33inspiration, beauty
0:57:33 > 0:57:38and high spiritual level ever go out of style,
0:57:38 > 0:57:41whether it's Bach
0:57:41 > 0:57:44or Skryabin or The Doors.
0:57:44 > 0:57:47People are still listening to all of them.
0:57:47 > 0:57:52"His world on you depends, our life will never end".
0:57:52 > 0:57:55The ultimate statement - "our life will never end".
0:57:55 > 0:57:59And the ancient Egyptians used to say that if you say a man's name,
0:57:59 > 0:58:01he is alive.
0:58:01 > 0:58:06So I take this opportunity to say... Jim Morrison.
0:58:07 > 0:58:10# LA woman
0:58:10 > 0:58:12# LA woman
0:58:12 > 0:58:16# LA woman, Sunday afternoon
0:58:18 > 0:58:21# LA woman, Sunday afternoon
0:58:24 > 0:58:27# LA woman, Sunday afternoon
0:58:27 > 0:58:29# Drive through your suburbs
0:58:29 > 0:58:32# Into your blues... #
0:58:32 > 0:58:36Subtitles by Red Bee Media Ltd