Popular Jim Morrison The Doors Books
What is/are the best book(s) on The Doors?
Log in or Sign up. Steve Hoffman Music Forums. Location: Worcester, MA. The Doors are far from one of my favorite bands though I do love quite a few of their tunes. But I find their history as band a completely captivating and intriguing topic.
With at least six books on Jim Morrison and The Doors now on the shelves, five published within the last year to take advantage of tie-in sales on the flowing, copious coattails of Oliver Stone's powerful film, The Doors , you'd think one of them, at least, might approach "very good," "excellent," even "definitive. There have been no good books written about Jim Morrison and the band he fronted, and I'm beginning to wonder if there ever will be. Could it be that there's a place in rock writing for Albert Goldman after all? For the lucky or unlucky few, that power degrades into the powers of fame and money, in which what was once transcended nightly by music is now transcended more permanently by sales, marketing, investments, even as the door to the original fading vision, a door never actually passed through, is kept ajar by drugs and alcohol. Jerry Lee Lewis has lived on this edge for nearly 40 years. Bob Dylan continues to warp in and mostly out of it.
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T he author of Mystery Train and Invisible Republic is in the habit of offering such compelling and unexpected insights into the popular music of the second half of the last century that I approached Greil Marcus's latest book wondering if it would cure me of an indifference to the Doors dating back to a time, 45 years ago, when initial enthusiasm was followed by a swift disengagement from what seemed an increasingly hollow combination of weak poetry and derivative music. Just as the Beatles and the Rolling Stones represented contrasting impulses at work in the British pop music of the first half of the s north-country diligence and inventiveness versus metropolitan loucheness and unashamed pastiche, to put it in the loosest possible terms , so the divergent tendencies of American rock, as it had become known by the later years of the decade, were exemplified by the Velvet Underground and the Doors, the two most influential US bands of their era. Like the Beatles, the members of the New York-based Velvet Underground were interested in authentic innovation and possessed the collective inquisitiveness and the individual musical resources to help them achieve their aims, even though, unlike their Liverpool counterparts, their work failed to find an audience until long after they had ceased to exist. The Doors , a product of hedonistic Los Angeles, resembled the Stones in showing less of an interest in finding an original way to develop their roots in black rhythm and blues than in simply casting a spell over their audience, one reflecting what Brian Eno has called "the nagging, dark, seductive undertow of the great liberalisation": a mood of disquiet, exacerbated by assassinations and conspiracy theories, that crept across and ultimately overwhelmed the cheerful optimism of Carnaby Street and Haight-Ashbury. Although they enjoyed big hits something the Velvets never managed and had a movie of their story made by Oliver Stone , the counter-culture's own DW Griffith, the Doors were easily the weakest of the four bands. In essence their public career lasted from the appearance of their first recordings in until the death of their singer, Jim Morrison, in , following the release of their final studio album; a couple of spurts of popularity followed among new generations of listeners impressed by what is usually referred to as Morrison's "shamanic" quality and his unexplained death, at the fateful age of This relatively modest book, subtitled "A Lifetime of Listening to Five Mean Years", is divided into short chapters ranging in length from 16 words to 26 pages in which the author meditates on the experience of listening to a particular Doors song, sometimes taken from a studio album, more often from bootlegged concert recordings.