John Densmore On New Book ‘The Doors Unhinged’ And The Business Of Music

Forbes Business Hollywood & Entertainment John Densmore On New Book ‘The Doors Unhinged’ And The Business Of Music Jim Ryan Contributor Opinions expressed by Forbes Contributors are their own. I write about the business of music Following Click to save this article. You’ll be asked to sign into your Forbes account.

Nov 29, 2023, 09:47pm EST Press play to listen to this article! Got it! Share to Facebook Share to Twitter Share to Linkedin NASHVILLE, TN – MAY 15: (EDITORS NOTE: Image has been converted to black and white) John Densmore . . .

[+] of The Doors joins R. A. T.

S. , (Rock Against Terrorism) during Music Biz 2016 at Renaissance Hotel on May 15, 2016 in Nashville, Tennessee. (Photo by Rick Diamond/Getty Images) Getty Images Nearly 60 years after forming, their approach to the business side remains a fascinating footnote in the history of L.

A. rockers The Doors. Singer and poet Jim Morrison recommended a rare equal songwriting split between himself, guitarist Robby Krieger, keyboard player Ray Manzarek and drummer John Densmore , further advising that each receive veto power within band matters.

In 1968, Morrison famously utilized that veto, squashing proposed placement of “Light My Fire” within a Buick ad that was otherwise given a green light by his band mates. Densmore, 78, never forgot the incident, quickly learning to appreciate Morrison’s stance that commercial placement of Doors music could lessen or compromise the power of the group’s iconic catalog, fighting to preserve Morrison’s legacy since his death in 1971 at the age of just 27. Fast forward 35 years and it was Densmore putting a stop to a potentially lucrative Cadillac ad campaign which sought use of “Break on Through (To the Other Side).

” When Krieger and Manzarek toured in 2002 as The Doors of the 21st Century, Densmore, in partnership with the Morrison estate, was ultimately forced to sue his bandmates, alleging misleading use of the group’s name. The pair filed a counter suit and the fascinating glimpse behind the curtain at the band’s inner workings sits at the heart of Densmore’s latest book The Doors Unhinged: Jim Morrison’s Legacy Goes on Trial ( now available via Akashic Books). American rock band The Doors arrive at Heathrow Airport for their European Tour starting off at the .

. . [+] Roundhouse in London, UK, 5th September 1968.

From left to right: drummer John Densmore, singer Jim Morrison (1943 – 1971), guitarist Robby Krieger, keyboard player Ray Manzarek (1939 – 2013). (Photo by Len Trievnor/Daily Express/Getty Images) Getty Images “I always emphasize, if you’re a new band trying to pay the rent, do it! Do a commercial. But in our situation, it’s different,” explained Densmore during a phone call this week.

“When I first sued my bandmates – my brothers – it was just really insane,” said the drummer. “I mean, Ray and Robby are great musicians! And I said, ‘Go play! Just change the name. ’ And they wouldn’t.

So, I took this step – which was awful. But I don’t regret it,” Densmore said. MORE FOR YOU Kiss Alive As ‘End Of The Road’ Nears – Three Left Following Chicago Stop Is Harry Styles Taking Over For U2 In Las Vegas Stray Kids Break Their Tie With Twice With Another No 1 Album In America “The premise of the counter suit was that I wasn’t – and this is a good Forbes term – I wasn’t fulfilling my fiduciary duty as a businessman.

In okaying ‘Break on through to a new deodorant’ you know?” he continued. “And I could not get that out of my head. Because Jim was so upset over ‘Come on, Buick, light my fire’ – something we considered.

Because it was big money back then,” Densmore recalled. “And then Jim said he would go on television and smash that car with a sledgehammer. I thought, ‘Oh.

That’s a ‘no,’” said the drummer. “I don’t want to sound too Mr. PC but, in our case, with Jim gone, I’m going to fight as long as I can for keeping this stuff unpolluted.

” While Densmore self-published a version of the book in 2010 following the culmination of the lengthy legal process (an appeal verdict came just about five years after the start of the trial), utilizing actual trial testimony as well as ruminations on life itself and the group’s highs and lows, the new book features an updated manuscript as well as a brand new preface and afterword which address the contemporary state of music business and the current trend by artists seeking to cash in upon the sale of their catalogs. I spoke with John Densmore about The Doors Unhinged , placement of The Doors music within films by directors like Francis Ford Coppola and Oliver Stone, Jim Morrison’s selfless approach to the business side, the American legal system and a new project which pits him alongside rapper Chuck D of Rock and Roll Hall of Fame hip-hop outfit Public Enemy. A transcript of our phone conversation, lightly edited for length and clarity, follows below.

Jim Ryan : Well, I know the testimony transcripts are out there as part of the public record but how did you go about sort of putting this book together? John Densmore : Yeah. It took a long time. But books all take years.

I had all of the public records. But I knew that wasn’t a book because it’s just too linear. I just had this feeling: “I’ve got to get this story out for those who are interested of this crazy road I took.

” When I first sued my bandmates – my brothers – it was just really insane. But, somehow, Jim’s ghost… I couldn’t stand the idea of The Doors without Jim or The Police without Sting or the Stones without Mick. And they wouldn’t stop doing that.

I mean, Ray and Robby are great musicians! And I said, “Go play! Just change the name. ” And they wouldn’t. So, I took this step – which was awful.

But I don’t regret it. It’s complicated. In response to my lawsuit – lawyers of course being lawyers – they counter sued me for more money than all of us made collectively in our entire lives.

To scare me. And it scared me! I didn’t really tell my family we could be wiped out. (sighs) The premise of the counter suit was that I wasn’t – and this is a good Forbes term – I wasn’t fulfilling my fiduciary duty as a businessman.

In okaying “Break on through to a new deodorant” you know? And I could not get that out of my head. Because Jim was so upset over “Come on, Buick, light my fire” – something we considered. Because it was big money back then.

And, you know, money is like heroin. It’s so addictive. And then Jim said he would go on television and smash that car with a sledgehammer.

I thought, “Oh. That’s a ‘no. ’” And Jim didn’t write “Light My Fire.

” He wrote one line: “And our love become a funeral pyre. ” So, what does that say? He really cared about the catalog – the whole thing. I always emphasize, if you’re a new band trying to pay the rent, do it! Do a commercial.

But in our situation, it’s different. Jim’s now my ancestor. I’m trying to honor him.

American singer-songwriter Jim Morrison (left) and drummer John Densmore of The Doors, circa 1968. . .

. [+] (Photo by Estate of Edmund Teske/Michael Ochs Archives/Getty Images) Getty Images Ryan : Jim obviously took a pretty selfless approach to the business side, recommending veto power and an equal split. What did you learn from his approach there that would sort of come to guide you a bit in the decades to come? Densmore : It’s shocking how money was secondary to Jim.

I mean, he didn’t even have a wallet. He had like a couple of pieces of cardboard and then he got a credit card and kept it in between that. We all bought a house and got groovy cars – and he would just stay in a motel.

And that was one of the things I said to Ray and Robby when we got these obscene offers of money. I’d say, “Well, you know, what do you want to buy?” And then there’d be a big pause. And that pause was the answer.

Money is like an addiction. I enjoy having money, believe me, but. .

. Ryan : So much has happened since this trial. It cost you a marriage.

Ray has passed. What was it like revisiting such a volatile time in your life in this kind of detail for The Doors Unhinged book ? Densmore : Well, as I said in the new preface, I had a book deal for this book. And they kept pressing me to write gossip about Jim.

And I kept saying, “Excuse me, I did that. It’s called Riders on the Storm . It was a New York Times bestseller.

Pick it up. ” And they said, “No, no, no. There’s gotta be more stories.

” Well, this is not about sex, drugs and rock and roll. It’s about a legal struggle. So, I gave them the front money back and self-published.

Then, a couple of years ago, I noticed Dylan and Springsteen garnering hundreds of millions of dollars in selling their publishing. I thought, “Oh my god, this book is about money – maybe I can officially put it out. ” And I was very grateful that a small boutique publishing house – Akashic Books in Brooklyn – got it.

They love it. And here we are officially out there. Then there’s the afterword.

Where I said to Robby when The Boss and Dylan and all of them did that, I said, “Hey, listen – let’s sell everything and give half of it to charity. That will show these rockers what to do. If we’re going to hoard our dough, can’t we at least help society a little bit or something?” And he went, “That’s a cool idea.

We’d get a lot of press. ” And then a few months later, he sells his quarter without telling me – with no restrictions on commercials or whatnot. As I wrote, I called him up and said, “Robby, what?” And he said, “Well, you know, you’ll protect the songs.

” And I went, “OK… This is kind of comedic here. I’m worried about Jim’s legacy and he’s thinking about getting deeper pockets. ” And then I close it out with John Fogerty fighting for 30 years to get his songs back – his babies.

And I’m still trying to protect Jim’s babies. I know I’m trying to control it from the crypt. My kids are very clear on my wishes though.

So, maybe Jim’s wishes will go on for another 50 years, who knows? Eventually AI will eat it all up won’t it? LOS ANGELES, CA – FEBRUARY 06: Musician John Densmore attends the 25th anniversary MusiCares 2015 . . .

[+] Person Of The Year Gala honoring Bob Dylan at the Los Angeles Convention Center on February 6, 2015 in Los Angeles, California. The annual benefit raises critical funds for MusiCares’ Emergency Financial Assistance and Addiction Recovery programs. (Photo by Frazer Harrison/Getty Images) Getty Images Ryan : One of the first lines in the book really struck me: “Ever since rock and roll was born, a tradition has been building on the idea that our music means something more than money – and if it’s compromised, it’s power could be lessened.

” After everything with the trial, after the craziness of the last few years amidst pandemic – as all of these artists do continue to sell their catalogs – what does music mean to you today? Densmore : Well, I quote Pete Townshend in Rolling Stone saying, “I don’t give a f—k if you fell in love with my song. I’ll do what I want with it. ” Also in that interview, he’s saying “the audience already got the message.

So who cares?” Well, yeah. I want to be careful. It’s a free country.

You can earn as much as you want. But I just hope that Springsteen and Dylan spread it around a little more. Because it’s like fertilizer you know? When spread around, things grow.

When hoarded, it stinks. I’ve got to be careful not to preach or judge. I’ve just got to do my thing: continue to give 10%.

When I read that John Lennon did that, I started tithing. And I noticed that my hand was shaking when I was writing those checks during the Oliver Stone movie. And I was like, “Wow, wait a minute.

This means that I’m doing really good, what the f—k? Oh wait, that’s the hand of greed right there in me. ” And in all of us to varying degrees. It’s a provocative subject.

MORE FROM FORBES John Fogerty On 50 Year Battle To Recapture The Music Of Creedence Clearwater Revival By Jim Ryan Ryan : John Fogerty told me a story about being particularly offended by the use of one of his songs in an ad for paint thinner. But you mentioned Oliver Stone. And the music of The Doors has been used to tremendous artistic benefit by directors like Coppola ( Apocalypse Now ) and Stone ( The Doors ) and Robert Zemeckis ( Forrest Gump ) in film.

When it’s used properly, how valuable a tool can music placement in film be not just artistically but in terms of potentially helping you reach a new, younger audience? Densmore : Oh, the benefit is everywhere. It’s financial, it’s artistic. Hopefully, it moves the culture a little towards more consciousness.

And, as Anthony DeCurtis, a Rolling Stone writer, said, “If The Doors had approved ‘The End’ for an Oscar Mayer wiener commercial, maybe Francis Ford Coppola wouldn’t have picked it up…” When Jim first presented “The End” to us, it was a goodbye love song. “This is the end, beautiful friend. ” And then over many months in clubs, it morphed into this long, poetic, rambling thing.

So, that was Jim’s great poetic, Oedipal, psychedelic dream. Then Francis picks it up and makes it an anti-war anthem sort of – which was not what we were thinking at all. But Jim always said, “Man, you’ve got to write universal stuff.

” And so everybody has a kind of different interpretation and that means it’s more impactful. So, we were thrilled when we saw those horrible napalm bombs dropping at the beginning of Apocalypse Now to our music. HOLLYWOOD, CA – MARCH 20: Rapper Chuck D (L) and musician John Densmore attend the Record Store Day .

. . [+] LA press conference 2014 held at Amoeba Music on March 20, 2014 in Hollywood, California.

(Photo by Tommaso Boddi/WireImage) WireImage Ryan : There’s a couple of artist quotes in the book that I particularly enjoyed. One was Ice Cube, the other was Patti Smith (who comes up frequently in the book). Both, to me, embody the spirit that makes rock music or punk music or rap music great – part of which is a fierce artistic independence.

What to you is the spirit that both of them convey? Densmore : Yeah, I was very pleased that Ice Cube was inducted into the Rock and Roll Hall of Fame as a hip-hop artist. And he said, rock and roll is a metaphor for a force of energy. Exactly.

Really good. And Patti Smith is… oh man. I grabbed her quote from her Just Kids book.

“We feared the music was getting into fattened hands. ” Yeah. I don’t want to sound too Mr.

PC but, in our case, with Jim gone, I’m going to fight as long as I can for keeping this stuff unpolluted. Ryan : I love the way you write about jazz music in the book. Whether it’s the idea of improvisation or it’s timing, what can jazz kind of teach us about life in general? Densmore : That’s pretty good.

Yeah, improvisation is the key to jazz. It’s not completely free. There is free jazz (and that’s why Coltrane kind of got some s—t when he went way out there, outside the chords).

But there’s a chord structure and then you improvise on the chords and then you come back. You can go way out or just a little ways. So, maybe that’s a metaphor for living.

You have a plan. And then… MORE FROM FORBES Doors Drummer John Densmore On New Book ‘The Seekers,’ Importance Of Jazz And His Musical Dialogue With Jim Morrison By Jim Ryan Ryan : Aside from the fact that it moves incredibly slowly, what’s the most significant thing you learned about the American legal system throughout the course of the trial? Densmore : (laughing) It’s kind of shocking. I sort of thought, “Well, everybody is under oath when you’re in the courthouse…” Oh no, no.

Only the people on the witness stand have to swear to god to tell the truth. Therefore, the lawyers, the prosecutors, they can say all of this s—t that is just a bunch of crap! And sometimes the judge will object because it’s so ridiculous. But the jury will just hear exaggerated bullsh-t from all of the lawyers.

Because they’re not under oath. And then they have to sift through it. So, that shocked me.

I didn’t realize just how manipulative it can get. Ryan : Well, I’ve really enjoyed your last two books . Any other ideas you’re working on? Densmore : Well, as a matter of fact, I’m doing an album with Chuck D from Public Enemy.

So cool. I met him years ago on a panel or something. And we just talked a little.

And then a year or so ago, he emails me and says, “Chuck D + John D = DOPE. ” I went, “OK!” He’s so smart. He said, “You’ve got the beats, I’ve got the rhymes – let’s make dope.

” And we’ve been doing that. Later, I realized, he sent me the “DO” in Doors logo lettering and the “PE” in Public Enemy lettering. My god, the guy is so hip.

So, we’re into it. I don’t know what the hell it is. Alt hip-hop, is that what we’re doing? But that’ll be out next year.

Follow me on Twitter . Check out my website . Jim Ryan Editorial Standards Print Reprints & Permissions.