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Country USA abstract Break on Thru: A Celebration of Ray Manzarek and The Doors is a movie starring Emily Armstrong, Exene Cervenka, and Phil Chen. A concert documentary from a 2016 all-star performance in Los Angeles, John Densmore and Robby Krieger Release Year 2018 Exene Cervenka, Robert DeLeo. I ❤ Robby Krieger's shirt with Ray Manzarek on it and I know it's sad that Ray Manzarek and Jim Morrison are dead but I remember this song was played on Radio back in the 1960's with the original members of the doors did it '67 lol.

Morrison was Morrison, period! RIP Lizard King. Break on thru: a celebration of ray manzarek and the doors lyrics.

 

Break on thru: a celebration of ray manzarek and the doors reviews. Break on thru: a celebration of ray manzarek and the doors photos. Break on thru: a celebration of ray manzarek and the doors chords. Break on Thru: A Celebration of Ray Manzarek and The door repair.

Posted: Feb 8, 2020 / 09:18 PM PST / Updated: Feb 8, 2020 / 09:22 PM PST Ill admit Im a bit biased when I review this documentar/concert hybrid film. The Doors are my favorite band, so the idea of seeing a tribute to founding member — keyboardist Ray Manzarek — is right in my wheelhouse. This is a must-see for Doors fans, as well as music fans in general. It helped me get the bad taste out of my mouth thats been there since the Val Kilmer movie 30 years ago. As a tribute to Manzarek, this will be shown on what would have been his 81st birthday — February 12th (locally you can catch it at Cinepolis in Del Mar. The occasion brought drummer John Densmore and guitarist Robby Kreiger together on stage for the first time in 15 years. There had been a bit of bad blood after Densmores second book on The Doors (Unhinged) talked badly about the other guys trying to sell-out the songs, and it resulted in a lawsuit. So its great to see them play together, and to hear Densmore talk about the book, and a conversation he had with Manzarek right before he died (no “spoiler alert” needed; go see the movie. The musicians assembled include Foo Fighters Rami Jaffee and Taylor Hawkins (who sounded so good singing Morrisons stuff, it makes me wonder why he doesnt take more lead vocals from Grohl. There was also Stone Temple Pilots former San Diegan bassist Robert DeLeo, and Govt Mule and Allman Bro Warren Haynes. Hardcore Doors fans will be happy to see a Rick and the Ravens bandmember — Jim Manzarek on harp. Stephen Perkins from Janes Addiction was there, as well as musicians weve seen play with The Doors of the 21st Century and Kreiger (Phil Chen, Waylon Krieger. I was most thrilled to see that, after John Doe of X (who among his many acting roles, once acted in the L. A. Woman music video) not only sang Roadhouse Blues, but his bandmate Exene joined him for three songs. Of course, they played a cover of Soul Kitchen (a song that has the rare distinction of being on two debut albums. Manzarek produced their debut, along with three other records. It was nice to hear not only Doors songs, but the X tune Nausea. It was interesting to see Manzareks son Pablo start things off with a message, and were also treated to many clips of The Doors with Morrison. Some of those weve seen on other videos, some you probably havent. Rolling Stone writer Ben Fong-Torres shows us a lot of Manzarek clips from an interview he did, and he plays a cassette he has of an interview with Morrison when he happened to show up at an apartment he was hanging out at. It was stuff I had never heard before, which is refreshing. Doors fans have heard the story of Ray and Jim meeting at UCLA film school, running into each other at the beach and hearing Moonlight Drive. In this, we hear talented musicians play Moonlight Drive (and my favorite Doors song, Whiskey Bar. Youll hear a lot of the tunes you know and love. I enjoyed hearing Yes The River Knows at Jims grave, with Ray, Robby, and John drinking wine with fans. My only complaint is that if this is a celebration of Ray Manzarek, why not play one of the songs he sang on the two Doors albums that came out after Jim died — Tightrope Ride, Wandering Musician, Ships w/ Sails, Hardwood Floor, or The Peking King. We did hear a story about the guys going on stage when Morrison was passed out from all the drugs he took while hanging out with the Jefferson Airplane before a double billing, but…lets see the album covers and photos of the band the year after Jimbo. This is one night only in the theatres, so a few days before Valentines Day — take your Doors lover — for an evening out theyll enjoy. For ticket info, go to: 4 stars out of 5.

JIM IS ALWAYS STILL ALIVE IN OUR HART END IN OUR MEMORIES

Break on thru: a celebration of ray manzarek and the doors video. Break on thru: a celebration of ray manzarek and the doors movie. THE DOORS: BREAK ON THRU - A CELEBRATION OF RAY MANZAREK is a hybrid live concert and documentary capturing a 2016 tribute performance in Los Angeles, CA by surviving Doors members John Densmore and Robby Krieger to honor fellow Doors member Ray Manzarek on what would have been his birthday. The setlist consists of Doors songs performed by John and Robby alongside a cast of all-star guest musicians including various members of the Foo Fighters, X, Stone Temple Pilots, Jane's Addiction, Paul McCartney's Band, Gov't Mule and more. The film also includes rare archival footage of the band, conversations with Jim Morrison and Ray Manzarek, and esteemed music journalist Ben Fong-Torres, as well as new interviews with John and Robby.

I always wondered how he managed to play both organ and bass piano at the same time! Must be brain splitting! He truly had a signature of his own and, to a large extent, he was the sound of The Doors. This comment does not downgrade in any way Krieger's and Densmore's contributions. Edit Storyline Break On Thru: A Celebration of Ray Manzarek and The Doors is a concert documentary from a 2016 all-star performance in Los Angeles that John Densmore and Robby Krieger, the two surviving members of The Doors, developed to celebrate what would have been Manzarek's 70th birthday. As well as the all star concert there's never before seen footage from The Doors archives and new Interviews from Densmore and Krieger. It's a one of a kind documentary about a very special person and a legendary rock band. Written by The Doors Music Company Plot Summary, Add Synopsis Details Release Date: 28 April 2018 (USA) See more  » Also Known As: The Doors: Break On Thru - A Celebration Of Ray Manzarek Company Credits Technical Specs See full technical specs  ».

Break on thru: a celebration of ray manzarek and the doors youtube. Break on Thru: A Celebration of Ray Manzarek and The door cinema. 1:27 if i was ray, i would be like what kind of move are you doing with your hair. Its such a distraction. Break on thru a celebration of ray manzarek and the doors. On Feb. 12, a special documentary from The Doors will screen in theaters for one night and one night only. Break On Thru: A Celebration of Ray Manzarek is a cinematic toast to late keyboardist Ray Manzarek, and looks to be a grand affair commemorating the beloved musician, who passed away in 2013. A short teaser trailer surfaced in December, but now a longer, full-length trailer has made its way online as a more substantial preview of the film to come. More on the Break On Thru film, from the official news release: The feature film is a hybrid concert and documentary capturing a 2016 performance in Los Angeles, CA by surviving Doors members John Densmore and Robby Krieger to honor fellow Doors member Ray Manzarek on what would have been his birthday on February 12th. The setlist from the concert consists of Doors songs performed by John and Robby alongside a cast of all-star guest musicians including Taylor Hawkins and Rami Jaffee (Foo Fighters) Robert DeLeo (Stone Temple Pilots) Stephen Perkins (Janes Addiction) Exene and John Doe (X) Warren Haynes (Govt Mule) Brian Ray (Paul McCartney) Andrew Watt, and more. The film also includes rare archival footage of the band, conversations with Jim Morrison and Ray Manzarek, and esteemed music journalist Ben Fong-Torres, as well as new interviews with John and Robby. For information on participating theaters and tickets, visit the films official site.

Break on thru: a celebration of ray manzarek and the doors

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Nothing on the Site or the Movie Rewards Page shall be interpreted as granting, by implication, estoppel, or otherwise, any license or right to use any image, trademark, logo or service mark on the Site or the Movie Rewards Page. Unless otherwise specified, the Site and the Movie Rewards Page are for your personal and non-commercial use only and you may print, copy and download any information or portion of the Site or the Movie Rewards Page for your personal use only. Copying or downloading material from the Site or the Movie Rewards Page does not transfer title to any material on the Site or the Movie Rewards Page to you. If you copy or download any information or software from the Site or the Movie Rewards Page, you agree that you will not remove or obscure any copyright or other notices or legends contained in any such information. You are prohibited from using any marks for any purpose, including, but not limited to, use in advertising or publicity pertaining to distribution of materials on the Site or use as metatags on other pages or sites on the World Wide Web without the written permission of Cinemark or such third party, which may own the marks. You are not authorized to use our logo as a hyperlink to the Site unless you obtain Cinemarks written permission in advance, although we permit you to use our logo as a hyperlink to certain designated features of the Site for designated purposes. You agree to grant Cinemark an irrevocable, non-exclusive, worldwide, royalty-free, sublicensable, transferable license to use, copy, display, distribute, perform, transmit, publish, broadcast, and prepare derivative works upon, anything transmitted to the Site or the Movie Rewards Page by you. Cinemark reserves all rights to copyright and trademark ownership of its material at the Movie Rewards Page and will enforce such rights to the full extent of the law. 4. 7 Social Media Features:  The Site, including the Movie Rewards Page, may provide certain social media features that enable you to: Link certain content on the Site to certain third-party websites. Send emails or other communications with certain content, or links to certain content, on the Site. Cause limited portions of content on the site to be displayed or appear to be displayed on your own or certain third-party websites. You may use these features solely as they are provided by us, solely with respect to the content they are displayed with, and otherwise in accordance with any additional terms and conditions we may provide with respect to such features. You agree to cooperate with us in causing any unauthorized framing or linking to cease immediately. 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You will not permit any use of the Site or the Cinemark Movie Rewards Program that would damage, interfere with or unreasonably overload the Site and/or the Cinemark Movie Rewards Program. 4. 10 Exclusions and Limitations; Consumer Protection Notice:   If you are a consumer, the provisions in this Agreement are intended to be only as broad and inclusive as is permitted by the laws of your State of residence.  If you are a New Jersey consumer, the terms of the provisions relating to third-party links herein do not limit or waive your rights as a consumer under New Jersey law and the provisions in these Terms and Conditions are intended to be only as broad and inclusive as is permitted by the laws of the State of New Jersey.  In any event, Cinemark reserves all rights, defenses and permissible limitations under the law of your State of residence. 4. 11 Shipping of Rewards and Site Purchases:  Cinemark (or its vendor) will only ship to addresses located in the United States. We do not ship to P. O. Boxes. When you redeem the Cinemark Movie Rewards Program points for physical rewards, or make purchases on the Site for gift cards, Supersavers, or merchandise, you must provide a valid mailing address for shipment. It is your obligation to provide full shipping information at the time of redemption of points for or purchase of a physical item in order to receive the item.  Failure to do so may result in the loss of the Cinemark Movie Rewards Program points and/or the physical Reward for which the points were redeemed. Cinemark will not use the address provided for any marketing purposes. 4. 12 Payments and Refunds of Site Purchases:  In using the Site, you agree to pay the amounts owed to Cinemark via Visa, MasterCard, Discover, and American Express credit cards only.  At this time, we are not accepting any other method of payment. If you purchase tickets on the Site with a registered account you can receive a refund at for the purchase price of the ticket (excluding any service charge) up to two hours prior to the start of the showtime. In the rare situations when a show is cancelled, you will be entitled to a refund for the full purchase price of your tickets, including any service charges. At the theatre, a full refund can be given up to the start time of the showtime.  In these situations please notify our guest services department at Contact Us  and include the theatre, movie, showtime, email address and your confirmation number. Please refer to the  FAQ page  at for further details regarding the refund procedures. 4. 13 Links:  Although Cinemark controls a few hyperlinks in the Site, some links within the Site may lead to third-party sites. In addition, some Rewards can be claimed through links provided by movie studios or other third parties, which links Cinemark may pass through to you.  Cinemark includes these third-party links solely as a convenience to you. The presence of a link does not imply an endorsement of the linked site, its operator, or its contents, or that Cinemark is in any way affiliated with the linked site. The Site does not incorporate any materials appearing in such linked sites by reference. Cinemark reserves the right to terminate a link to a third party web site at any time. The third party sites are not controlled by Cinemark, and may have different terms of use and privacy policies, which Cinemark encourages you to review. Cinemark has no responsibility for the content of any third party web site, and provides such links on an “AS IS” basis. UNDER NO CIRCUMSTANCES SHALL CINEMARK BE LIABLE FOR ANY DIRECT OR INDIRECT, SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES THAT MAY ARISE FROM YOUR USE OF, OR INABILITY TO USE, ANY THIRD PARTY SITE. 4. 14 Must be At Least 13 Years Old to Use the Site and at Least 16 Years Old to be a Movie Fan and Movie Club Member:  If you are at least thirteen (13) years old but not of legal age to enter agreements, you MUST have permission from your parent or guardian to use the Site and to become a member of either Movie Fan or Movie Club. Cinemark makes no active effort to collect personal information from individuals under the age of 13. You must ensure that content you provide on any website or social media platform in connection with attempting to earn the Cinemark Movie Rewards Program points is acceptable for viewing by users who might not be adults. 4. 15 Controlled from the United States:  The Site and the Cinemark Movie Rewards Program are controlled from offices within the United States. Cinemark makes no representation that content or materials in the Site or the Cinemark Movie Rewards Program are appropriate or available for use in other jurisdictions. Access to the Site, the Cinemark Movie Rewards Program, content, or materials from jurisdictions where such access is illegal is strictly prohibited. If you choose to access the Site or the Cinemark Movie Rewards Program from other jurisdictions, you do so at your own risk. You are always responsible for your compliance with applicable laws. THE LAWS OF TEXAS WILL GOVERN THE CONTENT AND MATERIALS CONTAINED IN THE SITE AND the Cinemark Movie Rewards Program, WITHOUT GIVING EFFECT TO ANY PRINCIPLES OF CONFLICTS OF LAWS AND EXCLUDING THE UNITED NATIONS CONVENTION ON THE INTERNATIONAL SALE OF GOODS. YOU AGREE TO SUBMIT TO THE EXCLUSIVE JURISDICTION OF THE STATE AND FEDERAL COURTS OF DALLAS, TEXAS IN RELATION TO ANY CLAIM, DISPUTE, OR DIFFERENCE ARISING FROM THESE TERMS, AND YOU AGREE TO WAIVE ANY RIGHT OF REMOVAL OR TRANSFER WHETHER DUE TO FORUM NON CONVENIENS OR OTHER REASON. 4. 16 Not Authorized to do Business in Every Jurisdiction:  Cinemark is not authorized to do business in every jurisdiction. Information published on the Site or the Cinemark Movie Rewards Program may contain references or cross-references to goods or services that are not available in your state or country. If you click on our International link, you can see the countries where Cinemark currently does business. There is a separate Cinemark web site for each country, which is subject to its own terms and conditions and privacy policy. 4. 17 English Language:  The official text of these Terms and Conditions or any notice provided hereunder shall be in English. In the event of any dispute concerning the construction or meaning of these Terms and Conditions, reference shall be made only to these Terms and Conditions as written in English and not in any translation into another language. 4. 18 Arbitration:  Except as prohibited by law, unless we otherwise elect, any dispute regarding these Terms and Conditions, including validity, existence, binding effect, interpretation, performance, breach or termination, and including tort claims, shall be referred to and finally determined, to the exclusion of the courts, by a single arbitrator. Disputes shall be resolved by final and binding arbitration in accordance with the JAMS Inc. Comprehensive Arbitration Rules & Procedures then in effect. There shall be no right or authority for any claims to be arbitrated on a class action basis. The arbitration shall take place in Dallas, Texas, in English or at the option of the party seeking relief, online, by telephone, online, or via written submissions alone, and be administered by JAMS.  The arbitral tribunal (“Tribunal”) shall be composed of one arbitrator, who shall be independent and impartial.  If the parties fail to agree on the arbitrator within twenty (20) calendar days after the initiation of an arbitration hereunder, JAMS shall appoint the arbitrator in accordance with the rules. The decision of the arbitrator will be final and binding on the parties.  Judgment on any award(s) rendered by the arbitrator may be entered in any court having jurisdiction thereof.  Nothing in this Section shall prevent either party from seeking immediate injunctive relief from any court of competent jurisdiction, and any such request shall not be deemed incompatible with the agreement to arbitrate or a waiver of the right to arbitrate. The parties undertake to keep confidential all awards in their arbitration, together with all confidential information, all materials in the proceedings created for the purpose of the arbitration and all other documents produced by the other party in the proceedings and not otherwise in the public domain, save and to the extent that disclosure may be required of a party by legal duty, to protect or pursue a legal right or to enforce or challenge an award in legal proceedings before a court or other judicial authority. The arbitrator shall award all fees and expenses, including reasonable attorneys fees, to the prevailing party.  Any judgment rendered by the arbitrator may be entered in any court of competent jurisdiction. Members may choose to opt out of the agreement to arbitrate by mailing a written opt out notice (“Notice”) to Cinemark. The Notice must be postmarked no later than thirty (30) days after the date you accept these Terms and Conditions for the first time. The Notice must be mailed to Cinemark Corporate Headquarters located at 3900 Dallas Parkway, Plano, Texas 75093 to the attention of the Legal Department. This procedure is the only mechanism by which you can opt out of the agreement to arbitrate. Opting out of the agreement to arbitrate has no effect on any other parts of these Terms and Conditions, or any previous or future arbitration agreements that you have entered into with Cinemark. 4. 19 Entire Agreement; Severability:  These Terms and Conditions and the Privacy Policy, which is hereby incorporated into this Agreement by reference, constitute the entire agreement between you and us regarding your use of the Site, your participation in the Cinemark Movie Rewards Program, your entitlement to collect and redeem points, and your entitlement to Rewards and any other benefits of the Cinemark Movie Rewards Program, and supersede all previous versions or prior agreements oral or written, and any other communications relating to the subject matter of this Agreement. Except as expressly contained in these Terms and Conditions, there are no conditions, representations, warranties, express or implied, statutory or otherwise. When you deal with us over the Internet, you consent to the formation of contractual relations through electronic communications. We are the final authority as to the interpretation of these Terms and Conditions and as to any other questions or disputes regarding the Site, the Cinemark Movie Rewards Program or any Reward. All materials and any notices from us will be sent to your address as in our records; please notify us if your address changes. The Site, the Cinemark Movie Rewards Program, all rules and Terms and Conditions are governed by the laws of Texas. If any provision of these Terms and Conditions is invalid or unenforceable, such provision shall not affect the validity and enforceability of the remaining Terms and Conditions. Use of Movie Club 5. 1 Program Overview.  Enrollment in the Movie Club program is on the basis of a monthly membership fee (“Membership Fee”) as stated on our Movie Rewards page.  An active Movie Club member (“Movie Club Member”) will receive one credit (“Credit”) per month valid for one regular 2D movie ticket.  Additionally, Movie Club Members will also receive special members-only discounts on concessions at participating theaters. When you enroll in Movie Club you will receive a monthly credit redeemable for one (1) regular 2D movie ticket at participating Cinemark theatres (and except in certain Cinemark theatres where an upcharge may be added) and will be able to access members-only pricing on tickets and concessions. Movie Club Members are automatically enrolled in the Cinemark Movie Rewards Program. As such, Movie Club Members are subject to the Terms and Conditions set forth in Sections 3 and 4 above. In addition, the following Terms and Conditions apply.  If there is a conflict between any terms in Sections 3 and 4 and this Section 5, the terms of this Section 5 shall control. 5. 2 Enrollment, Renewal, and Cancellation.  Purchase is required for enrollment in Movie Club.   Movie Club Members must be enrolled in the Cinemark Movie Rewards Program (however, enrollment in Movie Fan does not require enrollment in Movie Club and there is no purchase required for enrollment as a Movie Fan member.   The Membership Fee may vary based on zip code and may or may not include applicable taxes.  The Membership Fee and terms of enrollment will not be changed during the course of the membership month.  However, Cinemark reserves the right to change the Membership Fee and terms of enrollment at the time of monthly renewal.  If the Membership Fee and terms of enrollment are changed, Cinemark will send an e-mail notification to Movie Club Members prior to renewal with instructions for termination of the Movie Club account (“Movie Club Account”. Renewal of the Movie Club membership is automatic.  Cinemark will charge the credit card on record for the Membership Fee, typically on the 30 th  day of the billing cycle for automatic renewal.   Unless the Membership Fee has changed, Cinemark will not send any e-mail notification prior to charging the credit card for a renewal.  The exact date for the next monthly billing will be displayed in the profile page of the Movie Club Account. The Subscription Member is responsible for keeping the credit card information updated on the Movie Club Account.  If the credit card on record cannot be charged, the Movie Club Account will be cancelled and Cinemark will send an e-mail to the Subscription Member notifying the cancellation of the Movie Club Account effective as of the date of renewal. A Movie Club Account is active and available for use immediately upon receipt of the confirmation email acknowledging creation of a Movie Club Account.  Enrollment is limited to one Movie Club Account per Movie Club Member per email address.  Cinemark requires that Movie Club Members be at least sixteen (16) years of age. There is no required minimum enrollment period. Movie Club Members may cancel membership at any time through the profile management page. The cancellation will be effective from the billing cycle following the effective date of cancellation.  The Membership Fee cannot be refunded.   All unused Credits remaining in the Movie Club Account expire six (6) months from the date of cancellation. 5. 3 Use of Credits.  Movie Club Members will receive one (1) Credit valid for one (1) regular 2D movie ticket during each month of membership.  Except in certain theatres where an upcharge may be added, each Credit may be redeemed for one (1) regular 2D movie ticket or the Membership Fee paid for the Credit, whichever is higher.  The Credit can be used to book tickets at any participating Cinemark theatre.  Credits may be redeemed only for regular 2D tickets; upcharges will apply for any non-2D or premium format tickets. Unused credits (“Rollover Credits”) rollover into the following month. Rollover Credits continue to rollover and may be used indefinitely in an active Movie Club Account.  If a Movie Club Account is cancelled, all Rollover Credits expire six (6) months from the date of cancellation. Credits may not be partially used; the entire Credit is to be used on booking one ticket.  Tickets booked with a Credit are transferrable and may be used by anyone. However, Credits may not be transferred and are only redeemable by the Movie Club Member who received the Credit in his/her Movie Club Account. A Movie Club Member can use any number of available Credits in a single transaction.  All outstanding Credits must be used prior to receiving the Membership Fee price on additional tickets.  However, the number of transactions on a Movie Club Account is limited to three (3) per day.  All tickets purchased after the third transaction will be at the non-discounted price but service fees will be waived for all transactions.  There are no limitations on number of transactions for the concessions discount. If Credits are used to purchase tickets but the Member is unable to make the showtime, we will refund the Credit(s) not cash value) to the Members Movie Club Account. The Member is not entitled to receive the cash value of any refunded tickets. A Credit is not a Gift Card and is not redeemable for cash; it may not be used for any transaction except the booking of one (1) regular 2D movie ticket. Credits cannot be refunded. However, tickets booked using the Credit may be exchanged for a new ticket. 5. 4 Member Discount; Purchase Process.  Subscription Members will receive a 20% discount towards the purchase of all concessions, except on alcoholic beverages, dairy, etc. wherever prohibited by state law. One companion ticket can be purchased at the then current Membership Fee price for each transaction in which a Credit is applied (regardless of how many Credits are applied in the transaction.   If a Credit is not available to be applied (i. e., after all Credits have been exhausted) a Member may purchase two tickets at the then current Membership Fee price per transaction. Members must present their User ID, or a print-out or email associated with their Movie Club Account to book a ticket at the point of sale.  Members may book tickets online and will receive a confirmation number as with an ordinary purchase. Tickets booked using a Credit or member discount cannot be purchased at a Kiosk. No online fees or service fees are applied to transactions booked through an active Movie Club Account.  Cinemark reserves the right to require customers to present an alternate form of identification, such as a valid photo ID, while booking a ticket at the box office with their Movie Club Account, if they cannot present a valid User ID. Please refer to the  FAQ page  at for further details regarding the Movie Club program. Contact Us: For further information, or inquiries about the Terms and Conditions and Privacy Policy, please contact our guest services department at Contact Us. Cinemark Corporate Office: Cinemark USA, Inc. 3900 Dallas Parkway Plano, TX 75093-7865 Telephone: [phone].

News and research before you hear about it on CNBC and others. Claim your 1-week free trial to StreetInsider Premium here. DENVER, Dec. 9, 2019 /PRNewswire.  The Doors and Trafalgar Releasing today announced the upcoming release of The Doors: Break on Thru - A Celebration of Ray Manzarek, coming to cinemas worldwide for a one-night only event on February 12, 2020. The film will bring fans together in theaters to celebrate the extraordinary legacy of the late Ray Manzarek, co-founder and keyboardist of The Doors, on what would have been his birthday. WATCH THE TRAILER HERE: This critically acclaimed, all-star hybrid concert/documentary was filmed at the Fonda Theatre in Los Angeles, CA and brought surviving members from The Doors, Robby Krieger and John Densmore, on stage for the first time in 15 years to celebrate the birthday of Manzarek alongside captivating performances from Foo Fighters' Taylor Hawkins and Rami Jaffee, Stone Temple Pilots' Robert DeLeo, Paul McCartney's Brian Ray, X's Exene and John Doe, Jane's Addiction's Stephen Perkins, Gov't Mule's Warren Haynes and more. STARRING ROBBY KRIEGER (THE DOORS. JOHN DENSMORE (THE DOORS. TAYLOR HAWKINS (FOO FIGHTERS. RAMI JAFFEE (FOO FIGHTERS. ROBERT DELEO (STONE TEMPLE PILOTS) STEPHEN PERKINS (JANE'S ADDICTION) JOHN DOE (X. EXENE CERVENKA (X. WARREN HAYNES (GOV'T MULE) FEATURING BRIAN RAY (PAUL MCCARTNEY BAND. EMILY ARMSTRONG (DEAD SARA) NASRI (MAGIC. ANDREW WATT * WAYLON KRIEGER * JIM MANCZAREK *PHIL CHEN * NATHAN WILMARTH * PABLO MANZAREK * BEN FONG-TORRES "Alt-Rock Royalty Light Up L. A. Celebration for Ray Manzarek" Rolling Stone "I would not have missed that show for anything" Nirvana's Krist Novoselic With a set list of Doors classics and compelling behind the scenes interviews and footage, this film celebrates the longevity of The Doors, bringing multiple generations together to celebrate this iconic band. Proceeds from the LA concert were donated to Stand Up for Cancer as selected by Ray Manzarek. Participating theaters and tickets can be found at. John Densmore, drummer of The Doors, shared: It was such an honor to play with these world-class musicians in a tribute to our magical keyboard player. " Kymberli Frueh, SVP Programming & Content Acquisitions at Trafalgar Releasing has said on the news. Break On Thru is a true celebration of Doors co-founder Ray Manzarek and includes a whole host of musicians inspired by him including Taylor Hawkins of the Foo Fighters and Robert DeLeo from Stone Temple Pilots. Trafalgar Releasing are pleased to present the first ever global fan cinema gathering sanctioned by The Doors to celebrate Manzarek's incredible legacy. " 2019 has been strong for music releases from Trafalgar Releasing in cinema. Coming up next is GORILLAZ: REJECT FALSE ICONS. Recent successes have included Depeche Mode: SPIRITS in the Forest directed by Anton Corbijn, Shakira in Concert: El Dorado World Tour, Metallica and San Francisco Symphony: S&M ², which became the biggest ever rock music event in cinemas globally,   BRING THE SOUL: THE MOVIE, which became the single largest event cinema release globally, Grateful Dead's 9th Annual Meet-Up at the Movies, Tribeca documentary Between Me and My Mind about Phish frontman Trey Anastasio, Roger Waters  Us + Them, Slayer: The Repentless Killogy, Rush Cinema Strangiato 2019 and The Cure: Anniversary 1978-2018 Live in Hyde Park London. The London based outfit have previously released films including Coldplay: A Head Full of Dreams, The Music Center presents Joni 75: A Birthday Celebration, Khalid Free Spirit, One More Time with Feeling, among others. The Doors With an intoxicating, genre-blending sound, provocative and uncompromising songs, and the mesmerizing power of singer Jim Morrison's poetry and presence, The Doors had a transformative impact not only on popular music but also on popular culture. The Doors' arrival on the rock scene in 1967 marked not only the start of a string of hit singles and albums that would become stone classics, but also of something much bigger – a new and deeper relationship between creators and audience. Refusing to be mere entertainers, the Los Angeles quartet relentlessly challenged, confronted and inspired their fans, leaping headfirst into the heart of darkness while other bands warbled about peace and love. Though they've had scores of imitators, there's never been another band quite like them. And 50 years after their debut album, The Doors' music and legacy are more influential than ever before. The Doors were inducted into the Rock & Roll Hall Of Fame in 1993. The Doors: Break on Thru - A Celebration of Ray Manzarek  will be screened in cinemas around the world on February 12, 2020. Tickets are on-sale now at, where fans can find the most up-to-date information regarding participating theaters. For assets including artwork and images: LINKS & DETAILS:Global theatrical release date: February 12, 2020Website: Facebook – Instagram – Twitter – For more information please contact:Ollie Charles [phone] About Trafalgar ReleasingTrafalgar Releasing is the global leader in event cinema distribution. A subsidiary of Trafalgar Entertainment, Trafalgar Releasing's global operations include production, acquisition, marketing and distribution of specialized content to over 4, 000 cinemas in more than 100 countries worldwide. View original content to download multimedia: SOURCE Trafalgar Releasing.

Break on thru a celebration of ray manzarek and the doors dvd.
Break on thru: a celebration of ray manzarek and the doors full.
Released 1 hr 7 min Documentary Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing Break on Thru: A Celebration of Ray Manzarek and The Doors near you. ENTER CITY, STATE OR ZIP CODE GO Sign up for a FANALERT and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. Break on Thru: A Celebration of Ray Manzarek and The Doors Synopsis An all-star performance in Los Angeles that John Densmore and Robby Krieger developed. Read Full Synopsis Movie Reviews Presented by Rotten Tomatoes.
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I really enjoyed this. I would buy tickets to watch these two very modest (and extremely talented) performers in a show. Break on Thru: A Celebration of Ray Manzarek and The door cinema club. Break on thru: a celebration of ray manzarek and the doors album. Break on thru: a celebration of ray manzarek and the doors 2. Break on thru: a celebration of ray manzarek and the doors tour. Break on thru: a celebration of ray manzarek and the doors 2016. Break on thru: a celebration of ray manzarek and the doors 2017. Ray Manzarek Manzarek performing in 2006 Born Raymond Daniel Manczarek Jr. February 12, 1939 Chicago, Illinois, U. S. Died May 20, 2013 (aged 74) Rosenheim, Germany Occupation Musician, songwriter, filmmaker Years active 1959–2013 Spouse(s) Dorothy Aiko Fujikawa ( m. Children 1 Musical career Genres Psychedelic rock, acid rock, blues rock, hard rock, blues, jazz fusion, funk, rock and roll, electronic music, punk rock Instruments Keyboards, Vocals Labels Elektra Associated acts The Doors Manzarek–Krieger Rick & the Ravens Nite City The Manzarek–Rogers Band Skrillex X Website The Official Site of Ray Manzarek Raymond Daniel Manzarek Jr. (né Manczarek; February 12, 1939 – May 20, 2013) was an American musician, singer, producer, film director, and author, best known as a member of The Doors from 1965 to 1973, which he co-founded with singer and lyricist Jim Morrison. Manzarek was notable for performing on a keyboard bass during many live shows and some recordings, taking on a role usually filled by a bass guitar player. Manzarek recorded on every track of all eight Doors studio albums, and was inducted into the Rock and Roll Hall of Fame in 1993. He was a co-founding member of Nite City from 1977 to 1978, and of Manzarek–Krieger from 2001 until his death in 2013. USA Today defined him as "one of the best keyboardists ever. " Biography [ edit] Early life [ edit] Raymond Daniel Manczarek Jr. was born and raised on the South Side of Chicago, Illinois. He was born to Helena and Raymond Manczarek Sr., and was of Polish descent. [1] 2] Growing up, he took private piano lessons from Bruno Michelotti and others. He originally wanted to play basketball, but he wanted to play only power forward or center. When he was sixteen his coach insisted either he play guard or not at all and he quit the team. Manzarek said later if it was not for that ultimatum, he might never have been with The Doors. He went to Everett Elementary School on South Bell Street and attended St. Rita of Cascia High School. [3] In 1956, he matriculated at DePaul University, where he played piano in his fraternity's jazz band (the Beta Pi Mu Combo) participated in intramural football, served as treasurer of the Speech Club, and organized a charity concert with Sonny Rollins and Dave Brubeck. He graduated from the University's College of Commerce with a degree in economics in 1960. [4] In the fall of 1961, Manzarek briefly enrolled at the University of California, Los Angeles School of Law. Unable to acclimate to the curriculum, he transferred to the Department of Motion Pictures, Television and Radio as a graduate student before dropping out altogether after breaking up with a girlfriend. [5] Although he attempted to enlist in the Army Signal Corps as a camera operator on a drunken lark during a visit to New York City, he was instead assigned to the highly selective Army Security Agency as a prospective intelligence analyst in Okinawa and then Laos. While in the Army, Manzarek played in various musical ensembles and first smoked and grew cannabis. However, because he wanted to eventually visit Poland, he refused to sign the requisite security clearance and was discharged as a private first class after several months of undesignated duty. According to Britt Leach, a fellow Army Security Agency enlistee, Manzarek "had collected an entire duffel bag" of cannabis specimens during his service in Laos; this may have been used to fund his subsequent graduate education. [6] The Doors [ edit] Following his return to the United States, he re-enrolled in UCLA's graduate film program in 1962, where he received a M. F. A. in cinematography in 1965. [7] 8] During this period, he met future wife Dorothy Fujikawa and undergraduate film student Jim Morrison. At the time, Manzarek was in a band called Rick & the Ravens with his brothers Rick and Jim. [9] Forty days after finishing film school, thinking they had gone their separate ways, Manzarek and Morrison met by chance on Venice Beach in California. Morrison said he had written some songs, and Manzarek expressed an interest in hearing them, whereupon Morrison sang rough versions of " Moonlight Drive. My Eyes Have Seen You" and " Summer's Almost Gone. Manzarek liked the songs and co-founded The Doors with Morrison at that moment. During this period, Manzarek met guitarist Robby Krieger and drummer John Densmore at a Transcendental Meditation lecture and recruited them for the incipient band. Densmore said, There wouldn't be any Doors without Maharishi. 10] From left to right, Densmore, Krieger, Manzarek and Morrison in a publicity photo from 1966 In January 1966, The Doors became the house band at the London Fog on the Sunset Strip. According to Manzarek, Nobody ever came in the occasional sailor or two on leave, a few drunks. All in all it was a very depressing experience, but it gave us time to really get the music together. The same day The Doors were fired from the London Fog, they were hired to be the house band of the Whisky a Go Go. [11] The Doors' first recording contract was with Columbia Records. After a few months of inactivity, they learned they were on Columbia's drop list. At that point, they asked to be released from their contract. Following a few months of live gigs, Jac Holzman "rediscovered" The Doors and signed them to Elektra Records. The Doors lacked a bass guitarist (except during recording sessions) so at live performances Manzarek played the bass parts on a Fender Rhodes Piano Bass. His signature sound was that of the Vox Continental combo organ, an instrument used by many other psychedelic rock bands of the era. He later used a Gibson G-101 Kalamazoo combo organ (which looks like a Farfisa) because the Continental's plastic keys frequently broke. During the Morrison era, Manzarek was the group's regular backing vocalist. He occasionally sang lead, as exemplified by covers of Muddy Waters 's "Close To You" released on 1970s Absolutely Live) and "You Need Meat (Don't Go No Further. recorded during the L. Woman sessions and initially released as the B-side of " Love Her Madly. He went on to share lead vocals with Krieger on the albums ( Other Voices and Full Circle) released after Morrison's death. Later career and influence [ edit] After recording two solo albums on Mercury Records to a muted reception in 1974, Manzarek played in several groups, most notably Nite City. [11] He recorded a rock adaptation of Carl Orff 's Carmina Burana (1983; co-produced by Philip Glass) briefly played with Iggy Pop, sat in on one track on the eponymous 1987 album Echo & the Bunnymen, backed San Francisco poet Michael McClure 's poetry readings and worked on improvisational compositions with poet Michael C. Ford. [12] He also worked extensively with Hearts of Fire screenwriter and former SRC front man Scott Richardson [13] on a series of spoken word and blues recordings entitled "Tornado Souvenirs. Manzarek produced the first four albums of the seminal punk band X, 14] also contributing occasionally on keyboards. [15] His memoir, Light My Fire: My Life with The Doors, was published in 1998. The Poet in Exile (2001) is a novel exploring the urban legend that Jim Morrison may have faked his death. Manzarek's second novel, Snake Moon, released in April 2006, is a Civil War ghost story. In 2000, a collaboration poetry album entitled Freshly Dug was released with British singer, poet, actor and pioneer Punk rocker Darryl Read. Read had previously worked with Manzarek on the Beat Existentialist album in 1994, and their last poetical and musical collaboration was in 2007 with the album Bleeding Paradise. Manzarek at the Bospop festival, Weert 2010, the Netherlands Also in 2000, he co-wrote and directed the film Love Her Madly, 16] which was credited to a story idea by Jim Morrison. [17] The film was shown at the closing night of the 2004 Santa Cruz Film Festival, 18] but otherwise received limited distribution and critical review. In 2006, he collaborated with composer and trumpeter Bal. The album that resulted, Atonal Head, is an exploration in the realm of electronica. The two musicians integrated jazz, rock, ethnic and classical music into their computer-based creations. On August 4, 2007, Manzarek hosted a program on BBC Radio 2 about the 40th anniversary of the recording of " Light My Fire " and the group's musical and spiritual influences. In April 2009, Manzarek and Robby Krieger appeared as special guests for Daryl Hall 's monthly concert webcast Live From Daryl's House. They performed several Doors tunes. People Are Strange. The Crystal Ship. Roadhouse Blues " and " Break on Through (To the Other Side. with Hall providing lead vocals. In his last years he often sat in with local bands in the Napa County, California area, where he relocated in the early 2000s. [19] In 2009, Manzarek collaborated with "Weird Al" Yankovic, by playing keyboards on the single " Craigslist. which is a pastiche of The Doors. [20] On the day of Manzarek's death, Yankovic published a personal video of this studio session which he said had been an "extreme honor" and "one of the absolute high points of my life. 21] Manzarek was a co-producer on a few tracks for Universal Recording artist Michael Barber. A track appeared on the Internet, titled "Be Ok" on Barber's Universal Records debut. citation needed] In May 2010, Manzarek recorded with slide guitarist Roy Rogers in Studio D in Sausalito, California. Their album, Translucent Blues, released in mid-2011, was ranked No. 3 on the Top 100 Roots Rock Albums of 2011 by The Roots Music Report. [22] In February 2012, Manzarek recorded " Breakn' a Sweat " with DJ Skrillex and his fellow former Doors members Robby Krieger and John Densmore. In August 2013, Twisted Tales was released and dedicated to Manzarek after his passing. The unlikely musical duo of Manzarek and Roy Rogers, Manzarek-Rogers Band, for eight years substantiated the concept "opposites attract" since the latter is perceived for slide guitar and delta blues. The lyrical content is primarily penned by songwriter/poets Jim Carroll and Michael McClure. [23] Personal life, death and legacy [ edit] Manzarek married fellow UCLA alumna Dorothy Aiko Fujikawa in Los Angeles on December 21, 1967, with Jim Morrison and his longtime companion, Pamela Courson, as witnesses. Manzarek and Fujikawa remained married until his death. They had a son, Pablo born in August 31st 1973, and three grandchildren. [14] In the early 1970s, the Manzareks divided their time between an apartment in West Hollywood, California and a small penthouse on New York City's Upper West Side. [24] They subsequently resided in Beverly Hills, California (including ten years in a house on Rodeo Drive) for several decades. [24] For the last decade of his life, Manzarek and his wife lived in a refurbished farmhouse near Vichy Springs, California in the Napa Valley. [25] In March 2013, Manzarek was diagnosed with a rare cancer called cholangiocarcinoma (bile duct cancer) and traveled to Germany for special treatment. During that time he reconciled with John Densmore, and he spoke to Robby Krieger before his death. He also performed a private concert for his doctors and nurses. Manzarek was "feeling better" until it took a turn for the worse according to his manager. On May 20, 2013, Manzarek died at a hospital in Rosenheim, Germany, at the age of 74. [26] 27] His body was cremated. Robby Krieger said, I was deeply saddened to hear about the passing of my friend and bandmate Ray Manzarek today. I'm just glad to have been able to have played Doors songs with him for the last decade. Ray was a huge part of my life and I will always miss him. 27] John Densmore said, There was no keyboard player on the planet more appropriate to support Jim Morrison's words. Ray, I felt totally in sync with you musically. It was like we were of one mind, holding down the foundation for Robby and Jim to float on top of. I will miss my musical brother. 28] Greg Harris, president and CEO of the Rock and Roll Hall of Fame, said in reaction to Manzarek's death that "The world of rock 'n' roll lost one of its greats with the passing of Ray Manzarek. 29] Harris also said that "he was instrumental in shaping one of the most influential, controversial and revolutionary groups of the '60s. Such memorable tracks as 'Light My Fire. People Are Strange' and 'Hello, I Love You' – to name but a few – owe much to Manzarek's innovative playing. 30] At 9:31 on May 21, The Whisky a Go Go and other clubs where the Doors played dimmed their lights in his memory. An invitation-only memorial service was held on June 9 in the Napa Opera House. February 12, 2016, at the Fonda Theatre in Hollywood, John Densmore and Robby Krieger reunited for the first time in 15 years to perform in tribute to Manzarek and benefit Stand Up to Cancer. That day would have been Manzarek's 77th birthday. The night featured Exene Cervenka and John Doe of the band X, Rami Jaffee of the Foo Fighters, Stone Temple Pilots' Robert DeLeo, Jane's Addiction's Stephen Perkins, Emily Armstrong of Dead Sara and Andrew Watt, among others. In April 2018, the film Break On Thru: A celebration of Ray Manzarek and The Doors was premiered at the 2018 Asbury Park Music & Film Festival. The film highlights the 2016 concert in honor of Manzarek's 77th birthday and new footage and interviews. The film won the APMFF Best Film Feature Award at the festival. Discography [ edit] Solo [ edit] The Golden Scarab (1974) The Whole Thing Started with Rock & Roll Now It's Out of Control (1974) Carmina Burana (1983) Love Her Madly (2006) Nite City [ edit] Nite City (1977) Golden Days Diamond Nights (1978) With Bal [ edit] Atonal Head (2006) With Echo & the Bunnymen [ edit] Bedbugs and Ballyhoo (1987) With Michael McClure [ edit] Love Lion (1993) The Piano Poems: Live From San Francisco (2012) With Darryl Read [ edit] Freshly Dug (1999) With Roy Rogers [ edit] Ballads Before The Rain (2008) Translucent Blues (2011) Twisted Tales (2013) Spoken word [ edit] The Doors: Myth And Reality, The Spoken Word History (1996) With "Weird Al" Yankovic [ edit] Craigslist (2009) With poet Michael C. Ford [ edit] Look Each Other in The Ears. Hen House Studio Album includes The Doors: Ray Manzarek, Robby Krieger, and John Densmore. 2014 Filmography [ edit] Love Her Madly (2000. Director and co-writer. Induction (1965. Actor (Ray) director, and writer. The Wino and the Blind Man (1964. Actor (blind man. Evergreen (1965. Writer and Director. Deal of the Century (1983. Actor (Charlie Simbo. The Poet in Exile (in production. References [ edit] "Doors Legend Doors In. The Warsaw Voice... Retrieved May 20, 2013. ^ Ray Manzarek Bio - Ray Manzarek Career. Retrieved June 25, 2016. ^ Manzarek, Ray. Light My Fire. New York: Berkley Boulevard Books, 1998. ISBN   0-425-17045-4 ^ Jane Connelly. "DePaul's musical history: Ray Manzarek and The Doors, Newsline, DePaul University, A Publication for Faculty and Staff. Retrieved January 21, 2017. ^ Gillian G. Gaar. The Doors: The Illustrated History... Retrieved January 21, 2017. ^ In the Army with Ray. Hot Metal Bridge. Retrieved January 21, 2017. ^ Co-Founder of The Doors Ray Manzarek has passed away, UCLA School of TFT. Retrieved January 21, 2017. ^ Ray Manzarek (October 15, 1999. Light My Fire: My Life with The Doors... p. 83. Retrieved January 21, 2017. ^ Fricke, David (June 20, 2013. Ray Manzarek of the Doors. Rolling Stone (1185) 26. ^ Maharishi Mahesh Yogi Obituary, Rolling Stone, March 6, 2008, p. 16 ^ a b Goldstein, Patrick. "Nite City: The Dark Side of L. Archived July 9, 2008, at the Wayback Machine, Creem (September 1977. Retrieved May 15, 2008 ^ Ray Manzarek and Michael C. Ford at Hen House Studios, video ^ Hearts of Fire (1987. Internet Movie Database. Retrieved May 20, 2013. ^ a b "Ray Manzarek, the Doors' keyboardist, dies at 74. Los Angeles Times. May 20, 2013. ^ Los Angeles - X, Credits. AllMusic. Retrieved January 21, 2017. ^ Love Her Madly; IMDb. Retrieved 2013-12-21. ^ Love Her Madly credits; IMDb. Retrieved 2013-12-21. ^ Sarah Phelan, Madly' Deeply; Metro Santa Cruz, May 19–26, 2004. Retrieved 2013-12-21. ^ The buttercream Gang with guest Ray Manzarek on YouTube. Retrieved November 6, 2010. ^ Yankovic, Al. Alpocalypse at Allmusic, credits at AllMusic. Retrieved May 24, 2013. ^ Yankovic, Al (May 20, 2013. Ray Manzarek plays "Weird Al" Yankovic's "Craigslist" A/V stream. YouTube. Retrieved May 24, 2013. ^ The No. 1 Independent, International Music Charts in the World – Music News, Reviews. More. Helping the Music Artist along with Radio Stations and Record Labels. Roots Music Report. Retrieved May 20, 2013. ^ Slide guitarist Roy Rogers talks 'Twisted Tales' final album with Ray Manzarek. Retrieved June 25, 2016. ^ a b [1. dead link] "Rock 'n' roll retreat / The Doors' Ray Manzarek and his wife savor life in Wine Country. Retrieved January 21, 2020. ^ Ray Manzarek, Founding Member of The Doors, Passes Away at 74. The Doors Property, LLC. May 20, 2013. Archived from the original on August 7, 2013. Retrieved May 20, 2013. ^ a b "Keyboardist Ray Manzarek of The Doors dies at age 74. Reuters. May 13, 2013. Retrieved May 20, 2013. ^ John Densmore on TwitLonger. TwitLonger. May 20, 2013. ^ Lewis, Randy (May 20, 2013. Ray Manzarek dies at 74; the Doors' keyboardist. Retrieved February 3, 2015. ^ Cava, Marco della (May 20, 2013. Ray Manzarek's keyboards opened musical doors. USA Today. Retrieved February 3, 2015. Further reading [ edit] Light My Fire: My Life with The Doors (1998) ISBN   0-425-17045-4 The Poet in Exile (2001) Thunder's Mouth Press, 2002 paperback: ISBN   1-56025-447-5 Snake Moon (2006) ISBN   1-59780-041-4 External links [ edit] Official website Official Manzarek-Krieger website Official Ray Manzarek & Roy Rogers Official Ray Manzarek & Michael McClure The Doors official website Ray Manzarek on IMDb Ray Manzarek shares moments of his life story and career NAMM Oral History Interview December 8, 2008.

The Doors and Trafalgar Releasing recently announced the upcoming release of The Doors: Break On Thru - A Celebration Of Ray Manzarek, coming to cinemas worldwide for a one-night only event on February 12. The film will bring fans together in theaters to celebrate the extraordinary legacy of the late Ray Manzarek, co-founder and keyboardist of The Doors, on what would have been his birthday. Check out this new full-length trailer for the film: This critically acclaimed, all-star hybrid concert/documentary was filmed at the Fonda Theatre in Los Angeles, CA and brought surviving members from The Doors, Robby Krieger and John Densmore, on stage for the first time in 15 years to celebrate the birthday of Manzarek alongside captivating performances from Foo Fighters Taylor Hawkins and Rami Jaffee, Stone Temple Pilots Robert DeLeo, Paul McCartneys Brian Ray, Xs Exene and John Doe, Janes Addictions Stephen Perkins, Govt Mules Warren Haynes and more. “It was such an honor to play with these world-class musicians in a tribute to our magical keyboard player. ” - John Densmore “Alt-Rock Royalty Light Up L. A. Celebration for Ray Manzarek. ” – Rolling Stone “I would not have missed that show for anything. ” – Nirvanas Krist Novoselic With a set list of Doors classics and compelling behind the scenes interviews and footage, this film celebrates the longevity of The Doors, bringing multiple generations together to celebrate this iconic band. Proceeds from the LA concert were donated to Stand Up for Cancer as selected by Ray Manzarek. Participating theaters and tickets can be found at here.

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Break on thru: a celebration of ray manzarek and the doors pictures. Break on Thru: A Celebration of Ray Manzarek and The doorstep. Break on thru: a celebration of ray manzarek and the doors images. I really love how Robbys so sweet and kind giving handshakes and i love his aspca shirt and his blazer it looks like he made it hellaaaaa radddddd. Break on Thru: A Celebration of Ray Manzarek and The door locks.

 

The Doors And Trafalgar Releasing Present The Doors: Break On Thru - A Celebration Of Ray Manzarek In Cinemas Worldwide On February 12, 2020 ALL-STAR HYBRID CONCERT/DOCUMENTARY CELEBRATES THE LATE RAY MANZAREK, LEGENDARY KEYBOARDIST OF THE DOORS, BRINGING TOGETHER SURVIVING DOORS MEMBERS ROBBY KRIEGER & JOHN DENSMORE WITH OTHERS TO CELEBRATE THE LEGACY OF MANZAREK THE ONE-NIGHT THEATRICAL EVENT PREMIERES IN CINEMAS ON FEBRUARY 12, 2020, MANZAREK'S BIRTHDAY Tickets now on sale at PR Newswire DENVER, Dec. 9, 2019 DENVER, Dec. 9, 2019 /PRNewswire.  The Doors and Trafalgar Releasing today announced the upcoming release of The Doors: Break on Thru - A Celebration of Ray Manzarek, coming to cinemas worldwide for a one-night only event on February 12, 2020. The film will bring fans together in theaters to celebrate the extraordinary legacy of the late Ray Manzarek, co-founder and keyboardist of The Doors, on what would have been his birthday. WATCH THE TRAILER HERE: This critically acclaimed, all-star hybrid concert/documentary was filmed at the Fonda Theatre in Los Angeles, CA and brought surviving members from The Doors, Robby Krieger and John Densmore, on stage for the first time in 15 years to celebrate the birthday of Manzarek alongside captivating performances from Foo Fighters' Taylor Hawkins and Rami Jaffee, Stone Temple Pilots' Robert DeLeo, Paul McCartney's Brian Ray, X's Exene and John Doe, Jane's Addiction's Stephen Perkins, Gov't Mule's Warren Haynes and more. STARRING ROBBY KRIEGER (THE DOORS. JOHN DENSMORE (THE DOORS. TAYLOR HAWKINS (FOO FIGHTERS. RAMI JAFFEE (FOO FIGHTERS. ROBERT DELEO (STONE TEMPLE PILOTS) STEPHEN PERKINS (JANE'S ADDICTION. JOHN DOE (X. EXENE CERVENKA (X. WARREN HAYNES (GOV'T MULE) FEATURING BRIAN RAY (PAUL MCCARTNEY BAND. EMILY ARMSTRONG (DEAD SARA) NASRI (MAGIC. ANDREW WATT * WAYLON KRIEGER * JIM MANCZAREK * PHIL CHEN * NATHAN WILMARTH * PABLO MANZAREK * BEN FONG-TORRES "Alt-Rock Royalty Light Up L. A. Celebration for Ray Manzarek" Rolling Stone "I would not have missed that show for anything" Nirvana's Krist Novoselic With a set list of Doors classics and compelling behind the scenes interviews and footage, this film celebrates the longevity of The Doors, bringing multiple generations together to celebrate this iconic band. Proceeds from the LA concert were donated to Stand Up for Cancer as selected by Ray Manzarek. Participating theaters and tickets can be found at. John Densmore, drummer of The Doors, shared: It was such an honor to play with these world-class musicians in a tribute to our magical keyboard player. " Kymberli Frueh, SVP Programming & Content Acquisitions at Trafalgar Releasing has said on the news. Break On Thru is a true celebration of Doors co-founder Ray Manzarek and includes a whole host of musicians inspired by him including Taylor Hawkins of the Foo Fighters and Robert DeLeo from Stone Temple Pilots. Trafalgar Releasing are pleased to present the first ever global fan cinema gathering sanctioned by The Doors to celebrate Manzarek's incredible legacy. " 2019 has been strong for music releases from Trafalgar Releasing in cinema. Coming up next is GORILLAZ: REJECT FALSE ICONS. Recent successes have included Depeche Mode: SPIRITS in the Forest directed by Anton Corbijn, Shakira in Concert: El Dorado World Tour, Metallica and San Francisco Symphony: S&M ², which became the biggest ever rock music event in cinemas globally,   BRING THE SOUL: THE MOVIE, which became the single largest event cinema release globally, Grateful Dead's 9 th Annual Meet-Up at the Movies, Tribeca documentary Between Me and My Mind about Phish frontman Trey Anastasio, Roger Waters  Us + Them, Slayer: The Repentless Killogy, Rush Cinema Strangiato 2019 and The Cure: Anniversary 1978-2018 Live in Hyde Park London. The London based outfit have previously released films including Coldplay: A Head Full of Dreams, The Music Center presents Joni 75: A Birthday Celebration, Khalid Free Spirit, One More Time with Feeling, among others. The Doors With an intoxicating, genre-blending sound, provocative and uncompromising songs, and the mesmerizing power of singer Jim Morrison's poetry and presence, The Doors had a transformative impact not only on popular music but also on popular culture. The Doors' arrival on the rock scene in 1967 marked not only the start of a string of hit singles and albums that would become stone classics, but also of something much bigger – a new and deeper relationship between creators and audience. Refusing to be mere entertainers, the Los Angeles quartet relentlessly challenged, confronted and inspired their fans, leaping headfirst into the heart of darkness while other bands warbled about peace and love. Though they've had scores of imitators, there's never been another band quite like them. And 50 years after their debut album, The Doors' music and legacy are more influential than ever before. The Doors were inducted into the Rock & Roll Hall Of Fame in 1993. The Doors: Break on Thru - A Celebration of Ray Manzarek  will be screened in cinemas around the world on February 12, 2020. Tickets are on-sale now at, where fans can find the most up-to-date information regarding participating theaters. For assets including artwork and images: LINKS & DETAILS: Global theatrical release date: February 12, 2020 Website: Facebook – Instagram – Twitter – For more information please contact: Ollie Charles [phone] About Trafalgar Releasing Trafalgar Releasing is the global leader in event cinema distribution. A subsidiary of Trafalgar Entertainment, Trafalgar Releasing's global operations include production, acquisition, marketing and distribution of specialized content to over 4, 000 cinemas in more than 100 countries worldwide. View original content to download multimedia: SOURCE Trafalgar Releasing.

Break on thru: a celebration of ray manzarek and the doors for sale. I love his comment on modern music at 3:40. Break on thru: a celebration of ray manzarek and the doors book. You're welcome, glad that you liked it. Break on Thru: A Celebration of Ray Manzarek and thedoors. IN CINEMAS WORLDWIDE ON FEBRUARY 12, 2020 By Harvey Kubernik 2019 Photo by by Henry Diltz The Doors and Trafalgar Releasing today announced the upcoming release of  The Doors: Break on Thru – A Celebration of Ray Manzarek, coming to cinemas worldwide for a one-night only event on February 12, 2020. The film will bring fans together in theaters to celebrate the extraordinary legacy of the late Ray Manzarek, co-founder and keyboardist of The Doors, on what would have been his birthday. This critically acclaimed, all-star hybrid concert/documentary was filmed at the Fonda Theatre in Los Angeles, CA and brought surviving members from The Doors, Robby Krieger and John Densmore, on stage for the first time in 15 years to celebrate the birthday of Manzarek alongside captivating performances from Foo Fighters Taylor Hawkins and Rami Jaffee, Stone Temple Pilots Robert DeLeo, Paul McCartneys Brian Ray, Xs Exene and John Doe, Janes Addictions Stephen Perkins, Govt Mules Warren Haynes and more. STARRING ROBBY KRIEGER (THE DOORS. JOHN DENSMORE (THE DOORS) TAYLOR HAWKINS (FOO FIGHTERS. RAMI JAFFEE (FOO FIGHTERS) ROBERT DELEO (STONE TEMPLE PILOTS. STEPHEN PERKINS (JANES ADDICTION) JOHN DOE (X. EXENE CERVENKA (X. WARREN HAYNES (GOVT MULE) FEATURING BRIAN RAY (PAUL MCCARTNEY BAND. EMILY ARMSTRONG (DEAD SARA) NASRI (MAGIC. ANDREW WATT * WAYLON KRIEGER * JIM MANCZAREK * PHIL CHEN * NATHAN WILMARTH * PABLO MANZAREK * BEN FONG-TORRES With a set list of Doors classics and compelling behind the scenes interviews and footage, this film celebrates the longevity of The Doors, bringing multiple generations together to celebrate this iconic band. Proceeds from the LA concert were donated to Stand Up for Cancer as selected by Ray Manzarek. Participating theaters and tickets can be found at. John Densmore, drummer of The Doors, shared: “It was such an honor to play with these world-class musicians in a tribute to our magical keyboard player. ” Kymberli Frueh, SVP Programming & Content Acquisitions at Trafalgar Releasing has said on the news: “Break On Thru is a true celebration of Doors co-founder Ray Manzarek and includes a whole host of musicians inspired by him including Taylor Hawkins of the Foo Fighters and Robert DeLeo from Stone Temple Pilots. Trafalgar Releasing are pleased to present the first ever global fan cinema gathering sanctioned by The Doors to celebrate Manzareks incredible legacy. ” 2019 has been strong for music releases from Trafalgar Releasing in cinema. Coming up next is GORILLAZ: REJECT FALSE ICONS. Recent successes have included  Depeche Mode: SPIRITS in the Fores t directed by Anton Corbijn,  Shakira in Concert: El Dorado World Tour,  Metallica and San Francisco Symphony: S&M², which became the biggest ever rock music event in cinemas globally,  BRING THE SOUL: THE MOVIE, which became the single largest event cinema release globally, Grateful Deads 9th Annual Meet-Up at the Movies, Tribeca documentary  Between Me and My Mind  about Phish frontman Trey Anastasio,  Roger Waters Us + Them, Slayer: The Repentless Killogy, Rush Cinema Strangiato 2019  and  The Cure: Anniversary 1978-2018 Live in Hyde Park London. The London based outfit have previously released films including Coldplay: A Head Full of Dreams, The Music Center presents Joni 75: A Birthday Celebration, Khalid Free Spirit, One More Time with Feeling, among others. The Doors: Break on Thru – A Celebration of Ray Manzarek  will be screened in cinemas around the world on February 12, 2020. Tickets are on-sale now at, where fans can find the most up-to-date information regarding participating theaters. Global theatrical release date: February 12, 2020 Evergreen, a student movie produced by Ray Manzarek, and Five Situations, a film for which fellow UCLA classmate Jim Morrison did sound, are now in the process of being restored from the Ray Manzarek & Jim Morrison Preservation Project. Funding is in process which will allow the UCLA Film and Television Archive to clean the films and transfer them from fragile 16-mm prints to high-resolution digital cinema packages. Once this has been done, the films are scheduled to be screened in Westwood, Ca. at the Billy Wilder Theater at the Hammer Museum at UCLA, along with a collection of other student films made by notable alumni, as part of the UCLAs upcoming year-long 100 th anniversary celebrations. “Ray would have been pleased and flattered of course, ” said Dorothy Fujikawa in a 2019 UCLA media statement.  Fujikawa, who was married to Manzarek from 1967 until his death in 2013, had a leading role in Evergreen. I saw The Doors perform at the Forum in Inglewood, California in 1968, and first met Ray Manzarek in 1974 at Mercury Records on Hollywood Boulevard. I interviewed Ray a dozen times over forty years and produced a handful of recording sessions with him. Im one of the fortunate eight people listed in the dedication in his autobiography, Light My Fire. Ray was also interviewed in my 2004 book This Is Rebel Music. During 1996 I co-produced and curated a Rock Literature music series at the MET Theatre in Hollywood and all three surviving Doors performed one evening. Manzarek also penned the introduction to my 2009 coffee table book, Canyon of Dreams: The Magic and the Music of Laurel Canyon. He graciously joined me for two book signing events in Oakland and San Francisco. In 2011, Ray, Doors engineer/producer, Bruce Botnick, Elliot Lefko of the AEG/Golden Voice company and I were the featured panel discussion in the second annual Pollstar Live! Conference, The Doors-An L. A. Legacy, held at the Marriot at L. Live in Los Angeles, California. My 2014 book Turn Up The Radio! Rock, Pop and Roll in Los Angeles 1956-1972, carries a dedication to Ray. Raymond Daniel Manzarek (born Raymond Daniel Manczarek) was born February 12, 1939 in Chicago, Illinois. Ray resided with his family on the South side of Chicago and graduated DePaul University with a B. degree in Economics. “I was trained classically and I think it opened up a lot of avenues for the rock element to enter. Rock n roll to me is just like jazz. Its an improvisational medium. I left classical music because it didnt allow me to improvise. I didnt feel that I wanted to subjugate myself to another mans thoughts. I loved the technical training though, and theres nothing like it. I love the act of making my fingers move over the organ and piano, ” Manzarek stressed to me in a 1974 interview in the now defunct Melody Maker. In the early 1960s, the Manzarek clan relocated to the South Bay community of Redondo Beach in Southern California. Ray also fronted a band, Rick and The Ravens, and was exposed to 1950s and 60s jazz records, as well as the sounds emanating from the seminal World Pacific Records label. It was in Westwood, California, at the UCLA School of Film in 1964-1965 where  Manzarek first encountered James Douglas Morrison and then earned an M. degree in Cinematography. In 1965, Ray fronted Rick and The Ravens, and that same year joined up again with Morrison on the beach in Venice. The singers poetry was a perfect fit for the classically trained keyboardists musical ideas, and eventually they decided to form a band, taking the groups name from Aldous Huxleys infamous psychedelic memoir, The Doors of Perception. They soon teamed with drummer John Densmore and guitarist Robby Krieger formerly in the band Psychedelic Rangers. The Doors actively toured and recorded together until 1971. Producer Paul A. Rothchild and engineer/producer Bruce Botnick for Elektra Records created seismic studio albums and oversaw live recordings issued that changed the course of popular music. Ray Manzarek directed three long-form films on the Doors. The Doors: Live At the Hollywood Bowl; The Doors: Dance On Fire; and The Doors: The Soft Parade. Manzarek produced and performed on five albums by the L. band X, including Los Angeles. He continued to record, produce albums and write. Manzarek authored The Poet in Exile, as well as his autobiography, Light My Fire: My Life With The Doors, most recently penned a second novel, Snake Moon (Night Shade Books) which is a Civil War-era ghost story. He  released a new CD, Atonal Head (PBM Records) his endeavor into electronica, which he describes as “jazz-based with computer additives, ” done in collaboration with Polish expatriate jazz musician Bal. Theres also a rendition of “Riders on the Storm, ” with guest vocal by Jim Morrison. As we approach his February birthday celebration, Ive curated this interview below culled from a series of dialogues we had from 1974-2013. Q: Talk to me about your early encounters with Jim Morrison and especially his singing voice. I walked with you on Venice Beach last decade and you pointed at the sand and said, ‘This is where Jim sang to me in a Chet Baker-like voice. His voice had a softness to it. Morrison got louder and better as a singer during the entire Doors recording process. A: When I first heard Jim sing in Venice I thought he had it. There was no doubt that he would not have any problems ‘cause the microphone is no problem. Pitch is the problem with a singer. Can you sing in the same key on pitch? And I worked with a lot of singers who cant do that. Finding the notes. But Morrison had a good sense of pitch. So, if it was in the key of G, he would sing ‘Moonlight Drive in the key of G. And he would be there right on pitch. That was the important thing. The rest of it was all acquired expertise in your practice of your instrument. “Interestingly, on ‘Moonlight Drive is that its a really a seminal, or a signpost song. Its the first song Jim Morrison sang to me on the beach.  It had been after we graduated UCLA and I ran into him on the beach. ‘What have you been doing? ‘Ive been writing songs. ‘Sing me a song. ‘Im shy. ‘Youre not shy. Stop it. Theres nobody here. Just you and me. Im not judging your voice. I just want to hear the song. Besides, you used to sing with Rick and The Ravens at the Turkey Joint West and did ‘Louie Louie until you could not talk. Q: How was Morrison on stage even then? I know later he went straight into a  garage rehearsal room with you and the boys Was he a natural even in jams  at the Turkey Joint West venue? A: No. (laughs. It took a while and later to work it out on stage at The London Fog  and Whisky A Go Go. But by God, he sure did scream a lot and sure had a  willing injection of energy into rock ‘n roll. Q: Lets discuss the epic debut LP The Doors. It was done at Sunset Sound with producer Paul A. Rothchild and engineer Bruce Botnick. A: Sunset Sound was a very hip recording studio on Sunset Blvd. The Beach Boys had been there. Herb Alpert, Love. It was owned by a trumpet player, Salvador) Tutti Camarata and he had the Camarata Strings, I believe.  It was an excellent recording studio, four tracks. Rothchild and Botnick. Never had met Bruce before. Paul was the producer. “Rothchild and Botnick are Door number 5 and Door number 6.  Theres four Doors in the band and two Doors in the control room. So, they were always there, always twisting the knobs and really on top of it. A couple of high IQ very intelligent guys. We couldnt have done it without them. “Paul Rothchild was the guy who had produced The Paul Butterfield Blues Band and also Love, along with Botnick. The two of them did those albums together. So, Robby was a big fan of the Butterfield Blues Band and he was very excited that Paul Rothchild was gonna produce for us. I didnt know either one of them and not familiar with their work outside of Love. I had heard Paul Butterfield and thought it was good. Chicago blues by Chicago white boys. Being a Chicago white boy myself I could identify with Chicago white boys playing the blues. So it was a great combination of six guys. That first album was basically the four Doors and the two other Doors in the control room making the sound. We made the music. They made the sound. And they did an absolutely brilliant job. And it was a real joy and a great learning experience. “I had been in a fabulous recording studio before at World Pacific on 3 rd Street in L. with Rock and The Ravens for Dick Bock. And thats where we cut The Doors demo, along with some Rick and The Ravens songs. “Rothchild and Botnick were two alchemists with sound. We were the alchemical music makers but they were alchemists with sound-adding a bit of this-a bit of that. Some reverb. Some high end. Lets hit it at 20k or 10k. Lets dial in a bit of bass in there. They were making this evil witches brew concoction as we went along. And the sound just got better and better. Q: And on this album, and subsequent sessions you were joined by a studio bassist who essentially followed and copied your bass lines done on the Fender Rhodes. A: I was the bass player of The Doors. When it came to recording I played a Fender Rhodes keyboard bass. The instrument was great in person because it had a deep rich sound and moved a lot of air. But in the recording studio it lacked a pluck. It did not have the attack that a bass guitar would have-especially if you played a bass guitar with a pick. You had plenty of attack. So, on some of the songs we brought in an actual bass player, one of the Los Angeles cats, Larry Knechtel. Who played the same bass line that I played on ‘Light My Fire, who doubled my bass line. They could then get rid of my bass part and use the nice sound that Larry Knechtel could get. The click and the bottom. Q: And, in the sound mix the keyboard was treated equally. Not a second thought overdub or hidden below in the collaboration. A: Well it had to be. We were the Modern Jazz Quartet! Q: You had schlepped some of these songs in demo form in 1966, and had played the material all over the clubs locally before you put them down on tape for the debut album. I would imagine you didnt labor over whole first L. P. in the studio. A:   I had been in the World Pacific studio before, but Jim had never been in a vocal booth. He had some hesitations because he was a rookie. “Well the whole thing took ten days. Boom.  Were done. Were out of here. ‘Light My Fire was two takes. ‘The End was two takes. Q: You then start Strange Days L. P. A: Album two is recorded on an eight-track. The first album was four-track.  We now had four more tracks. That meant everything that we could do on the first album. We would still have four more tracks left over for overdubs. For experimentation. So we experimented in and out of the universe. I actually played one of the songs  backwards. The song was played to me backwards and I had each bar written out  with the chord change that went along with it and I started reading the music  on the lower right hand side and read right to left across the bottom line. And then  jumped to the next line, when I got to the end of the previous line, jumped to the next  line up on the right hand side, reading everything backwards, bottom to top,  getting closer and closer, finally to the top line and hoping that I end when the  song begins. ‘Cause its all going along and its backwards. Im following  (John) Densmores beat on the bass drum not knowing whats going to happen. And  sure enough, I get to the last measure here are four more beats! I stopped and the  music stopped. It was a miracle. And everyone went, ‘You did it Ray! And I went to  the guys and said to them in the control room. And I said, ‘Please, whatever you  do, help me here, never let me do his ever again. And they collectively said, ‘Thats  a deal, Ray. Q: You saw the studio becoming a laboratory. A: Exactly. It was a place where we could really experiment. We could put on  our lab tech coats rather than coming in with our ‘Mod outfits. Its almost  as if we put on our glasses. I felt like I was in a 1932 German Science Fiction movie,  ‘Woman In The Moon, something along that line. Some Fritz Lang. It was like  ‘Metropolis and we were wearing those glasses that you wear so you dont get  sparks in your eyes and we had lab coats on. And we were preparing this  strange concoction called ‘Strange Days. Q: You had already had some of the songs for it like ‘Moonlight Drive from 1965,  66, and now in 1967, its coming to fruition in the studio.  Plus, Jim  Morrisons voice really went further and deeper on the “Strange Days” expedition. A: Well, the man had his chops as they say. Jim got his chops  together. He had a  thick bull neck resembling a large engorged male organ. And by then, he  could sing, man. That throat had opened up and that man was singing. Q: Theres the Morrison scenic lyric “under television skies” in “My Eyes Have Seen You” that chronicles a pre-cable TV world he witnessed. On Strange Days the Doors employ Doug Lubahn as studio bassist on the album. A: Yes. And Doug and I worked very closely together and I showed him what I wanted on the bass parts. And he would play it and improvise on what I had shown him and expand upon it. He was not playing exactly what I told him to play. He was adding his own little touch to it that made it extra exciting for all of us to be there. He was just a great stoner, hippie, good guy. Q: He played with a band Clear Light. A: They were originally called The Brain Train. Great name and they change it to Clear Light. ‘Why? I asked Doug, ‘Why did you change your (band) name? ‘I dont know, Ray. It wasnt up to me. Q: On  Strange Days your organ work offers a tiny tip of the hat to Herbie  Hancock and his composition “Watermelon Man” just on the end hang lyric  conclusion of “When The Musics Over. ” A: Oh absolutely. Thats Herbie Hancock, man. Im borrowing a little bit of Herbies piano line. My keyboard line is a variation of his piano line on ‘Watermelon Man. Q: As you are hearing Jims lyrics to “When The Musics Over, ” late 1967, this is a timeline pre-Earth Day that began in 1970. Those lyrics are detailing ecological concerns and environmental chaos. Psychological territory away from ‘The End song. You and the band are the new soundtrack to global warning and the continual destruction of our planet. A: I knew Jim was a great poet. Theres no doubt about that. See thats why we put the band together in the first place. It was going to be poetry together with rock ‘n roll.  Not like poetry and jazz. Or like it, it was poetry and jazz from the ‘50s, except we were doing poetry and rock ‘n roll. And our version of rock ‘n roll was whatever you could bring to the table. Robby bring your Flamenco guitar, Robby bring that bottle neck guitar, bring that sitar tuning. John bring your marching drums and your snares and your four on the floor. Ray bring your classical training and your blues training and your jazz training. Jim bring your Southern gothic poetry, your Arthur Rimbaud poetry. It all works in rock ‘n roll. So Jim was a magnificant poet. I loved his poetry. The fact that he was doing ecological poetry. ‘What have they done to the earth? Q: Again, like in the entire Doors studio journey, Rothchild and Botnick are taking the whole trip into a new sonic world. A: Absolutely. We knew each other. We were friends. We would hang out together.  We would get high together and go to each others houses and hang out. Q: You know, as a kid, I would see some of The Doors in Los Angeles eating at  Norms restaurant on La Cienega right next to the Elektra Studios. It was near our  Fairfax High School. Even then I sort of knew you guys were recording and didnt bother you  at a table or the counter.  My Aquarius mother said something like, ‘Let them  eat. Theyre on the clock. I didnt quite know then what she meant. At the time  she was working for The Monkees and the Columbia Pictures movie studio. A: Absolutely. It was work. We didnt fool around.  “I was not able to duck out of Sunset Sound, or TT&G or later at Electra to see  bands or local jazz at Shelleys Manne-Hole. No! We were working. Were  recording. The clock is ticking. This is your job. Your job starts at 2:00 p. m. in  the afternoon and goes to 11:00 at night, 12 or one oclock in the morning. You go  home. You got to bed. You get up the next day. Maybe at 11:00 a. have a leisurely breakfast, take care of a couple of things and go back to the recording studio.  Because guess what, Harvey. The recording studio is the only place you wanted  to be. I didnt want to see anybody. I didnt want to go to a film or a jazz club.  I wanted to make records. Right then and right there. With Jim Morrison,  Robby Krieger, John Densmore, Paul Rothchild, Bruce Botnick and  Doug Lubahn. Great bass player. Q:  Why do Jim Morrisons lyrics work so well in recordings and the printed page? A:  Well, you know, Harvey, because lyrics are poetry. The words were well edited. Jim  was good that way when it came to songs. When you are doing this written poetry you can really stretch out and you can really expand. And, no one so far has done an ‘Ezra Pound on Jim Morrison. With his poetry, hed throw this out, take this line, or two lines, but when it comes to music you gotta be very choosy because you only have a short period of time. Songs in a way, outside of like ‘The End, and ‘When The Musics Over, are sorta like haikus. The fit has to be very tight. “I saw Jims words before he started writing songs. So, when you see his words on the page thats poetry. I always thought of Jim as a good poet. But when he started writing songs, then everything became verse, chorus, verse chorus. Really tight, and it was a whole other ball game. He put his words into an entirely different context. A musical context. A hit single in a three-minute context. I thought ‘Moonlight Drive was brilliant. Q: The Waiting For The Sun album. Some songs already existed in raw form but  a lot of new material was written for this endeavor. A: You know its time to do a record when you have 10 or 12 songs together. When  it hits a dozen time to enter the recording studio. I mean, we worked on those songs. I mean, when we would get together in the rehearsal studio they were  polished. They were changed. They were adapted. Somebody, invariably  Robby or Jim who would come up with the original idea. But boy, the four of  us would get together, change and modify and polish the songs. Q: “Hello, I Love You” from Waiting For The Sun had been around for a while. A: Yes. It was a song Jim wrote on the beach when we used to live down in Venice.  Dorothy would go off to work and Jim and I would go off to the beach around the  rings on the sand at Muscle Beach and work out around the bars, rings and swings  and get ourselves into physical shape. He was gorgeous. Man, he was perfect. He was  a guy who had opened the doors of perception and made a blend of the American  Indian and the American Cowboy. He was the white Anglo Saxon Protestant. The  WASP who had taken on the mantle of the American Indian. He now was no longer  a fighter of Indians. He was a lover of American Indians. Like John F. Kennedy, that  guy would have been a great President. Pre-alcohol, would have been a great  President.  The alcohol unfortunately destroyed Jim Morrison. Q: Once again, some warnings about the environment are inherent in the  lyrics. ‘Not To Touch The Earth. ” A: Sure. Yes. Ecology was very, very big. We were all trying to save the planet.  The sun was the energy. The supreme energy. “The establishment, as we called it, the squares, as they were called in the  Fifties, the establishment as they were called in the Sixties, were trying to stop  drug use, the smoking of marijuana and trying to stop any kind of organic  fertilizer. The word organic to them meant hippie, radical pot heads and people  who wanted to leave behind the organized religions and start some new tribal  religion based on American Indian folklore. Thats indeed what we were.  We called ourselves the new tribe. Q: You served in the military before the Doors started. The bands “Unknown  Soldier” must have been partially informed or reinforced by your stint. A: Everyone had to do military service. This was a time just before Vietnam. I was  lucky. Everybody had a military obligation. You had to do your time in the service.  So I did my time. Besides Thailand, I went to New York City and then I went  to Okinawa, fell in with a bunch of jazz musicians, smoked a little grass there. I thought  it was fabulous. Then I went to Thailand and where I had my real first Thai  stick experience. Courtesy of Uncle Sam. Q: On Waiting For The Sun The Doors question government on “The  Unknown Soldier” and “Five To One. ” A: That was a time when we started questioning the government. Everyone  was questioning the government. That was all based on the war in Vietnam. And why  are we in Vietnam? Why are we fighting these people? And the theory was, very  much like in Iraq, it was he domino theory. If Vietnam falls then all of Southeast  Asia is going to fall to the Communists and then they will be into the Philippines and then all the way to Australia will go Communists. The Communists scare is the  same scare that is the same scare that we know with the Islamic scare. Q: Why does “Celebration of The Lizard” from “Waiting For The Sun” still   resonate? Shaman and poet/singer Morrisons lyrics are prophetic. A: We were working in the future space. The Doors on their third album  were in the future. And many things have come to pass that Jim Morrison  wrote about. Q: It seems as if The Doors and technical people were allowed to create and flourish  without record label monitoring or corporate interference. Did Elektra Records  owner Jac Holzman come to the sessions? A: Once in a while. Sure. He was a real cheerleader if anything. Q: We are then lead into The Soft Parade. Was there a pre-production meeting  where everyone voted to include the use of strings and horns on the album? A:   We had made three albums with the same formation and at some point or another when you make albums you want to do an album with expanded sound. So you want to have some horns and strings. My God,  everybody did it. And we were gonna do it too. I want some strings. I want some  jazz arrangements. I want some classical arrangements. And everyone said yes.  Great idea. And a record label that said it was fine. What was great about the  record label was that Jac Holzman said, ‘Boys, do whatever You want. Just dont  use the seven illegal words.   George Carlins seven foridden words.  Other than  that, anything goes. What ever you want to do. And Paul Rothchild encouraged it. Q: You are using the new Elektra Studios as well. A: We have left Sunset Sound. The first two there and the Third at TT& G. on Sunset and Highland in Hollywood. We then went into Elektras new place. Fabulous. It was  all wooden. Brand new state of the art facility. We thought it was great and would be  able to play there for free. I mean, after wall, it was really the studio that The Doors  built. ‘Jac, this is gonna be great when he showed it to us. And we get to record here for free. Jac said, ‘Free? No. You dont get to record here for free. But, Ill tell you what Ill do. For you guys a ten percent discount. laughs. But it was a great  recording studio and they had a great funky organ in there. Gnarly organ. Q: George Harrison dropped by one of your Soft Parade sessions. He was visiting the  Elektra studios. He mentioned all the musicians at your date reminded him of  The Beatles Sgt. Peppers because of the orchestra booked. A: Yes. A Beatle in the room. A very charming guy. Very low key. And Im surprised John Densmore didnt become good friends with him. Q: And, once again, the Morrison vocals are potent, distinctive and his voice  more confident than ever. A: Hes no longer a blues singer. Hes added Frank Sinatra crooning to his voice and  did an absolutely brilliant job. Terrific. Girls loved it. ‘Touch Me a number one song. Q: You also had individual writing credits for the first time on the album sleeve. A: Thats a great story. Because of ‘Touch Me. The song was initially called ‘Hit  Me, and Jim is gonna say hit me. Its ‘Hit Me like in poker. And Jim said, ‘No Its  not like poker. Its like someone is gonna walk up to me and are gonna hit me.  You gotta change the line. ‘To what? ‘Touch Me. Beautiful. And along with  that ballad part he sings in ‘Tell All The People the line with ‘Get your guns… Follow me down. “Morrison, a military boy said, ‘I am not going to say that. And  Robby replied, ‘thats the way I wrote it and you cant change it. Robby was going  to stand up to Jim at that point. And Jim said, ‘I am not going to do it.      “And Robby said, ‘well thats the song. And Jim said, ‘Were gonna have to say that  you wrote this song. And Robby said, ‘OK. Fine with me. And that lasted for one or  two more albums. Q: Guitarist Robby Krieger was another kind of songwriter. He penned a lot of the popular radio hits and chart singles. “Love Me Two Times, ” “Spanish Caravan, ” the lyrics to “Tell All The People, ” “Touch Me, ” “Runnin Blue, ” “Love Her Madly, ” and co-wrote “Peace Frog” and “Light My Fire” with Morrison. A: Robby was a different sort of lyric writer. You know, Robby might be the secret weapon of the Doors, we get this great guitar player who plays bottleneck, and all of a sudden he comes in and plays ‘Light My Fire, the first song he ever co-wrote with Jim.  And then Robby wrote ‘Love Me, Two Times, ‘Love Her Madly. ‘Touch Me. Lots of Doors hit singles. Another guy with a high IQ. Q: On The Soft Parade you had Harvey Brooks as well as Doug Lubahn  on bass, saxophonist Curtis Amy and George Bohanan the trombonist. A: Wasnt that great. Curtis Amy, who was married to Merry Clayton. Curtis was a  big  nationally  known jazz horn player who lived in Los Angeles. He takes he solo  on ‘Touch Me. It might have been he first time a real jazz saxophone solo went  to number one on pop charts. And, we brought the strings and horn players to  some shows and TV appearances. It was a great deal of fun for me to bring them on  stage. “It didnt work for a lot of the critics and teenagers. ‘Were not coming to see  you guys expand. We want to see ‘Light My Fire. Four Doors. The sexy lead singer. You play the songs. No horns. No strings. No jazz soloing. Well, youre gonna get  it anyway. Like, at the Forum show you get Jerry Lee Lewis, Lonnie Mack,  Sweetwater and a Chinese Pipa player, too. Q: And by ‘ The Soft Parade Jim Morrison started to indulge and really drink. A: Jimbo came out. They call it the demon rum. Theres a demon in the bottle.  And theres a demon in that white powder, too. A demon on the blade. You know  what those things do? They open the trap door of the subconscious and allow  some creature to come out. And the alcohol for Jim, a genetic pre-disposition familial  pre-disposition to alcohol, something came out, man. “Some kind of combination.  He went from being the poet to a shooter. Shooter Morrison. I was flabbergasted. “We started experimenting in the studio. I wouldnt allow anything to get out of  the recording studio without my approval. If I didnt think it was right it did not go on  a record. Nothing happened without my OK. We did some composite vocals. You  do what you have to do. If Jim sings one line great. Fine. Then lets get the next  line. Lets get the words, man. Whatever it takes to get the best possible performance.  While you can see that Jim Morrison is undergoing a transformation. Right before  our very eyes. And I hoped that this transformation was short lived. But it wasnt.  ‘This cant last. This is not Jim.             Q: The Doors then arrive at Morrison Hotel. Why this direction? A: Well, we had done out horns and strings experimentation. We had had a great time.  I had a great time. Critically it was our least acclaimed album. However, it has stood  the test of time and there are many  great songs on there. So, you know what?  Weve done that experimentation. Lets go back to the blues. Lets get dark and  funky. Lets go downtown for the album cover. We went to the Hard Rock Café on  skid row with (photographer) Henry Diltz. And we went to a flophouse called  The Morrison Hotel. Rooms A sign read 2. 50 and up. It was definitely supposed to  be a funky album and you can see that on the inside photo and the front and back cover.  Album covers were always important. We were involved heavily in that process.  You could never just turn it over to he record company. Everything that The Doors  turned out had to be stamped by The Doors. We approve of this. “My God, Strange Days, what an album cover. We told the art director from  Elektra Records, Bill Harvey, ‘Make something ‘Fellini-esque. And he did that on  his own. Thats all we told him. We saw the photos and said, ‘Bill this is  fabulous. Youve outdone yourself. And Bill said, before he died, ‘Thats the best  album cover I ever did.   Q: And, theres a song called ‘Waiting For The Sun on Morrison Hotel. A: We loved the title. But the song had not come together earlier. We finally got it and a  beautiful piece of music. It needed to cook more. Sometimes Doors songs came out of  the collective conscious whole. ‘Bam. Thats it. Others needed to cook and they needed be worked on. And ‘Waiting For The Sun was one of those songs with  a great title and the song took a while to jell. Q: Its a hard mean album. Morrisons voice lends itself to this specific material. A: It was a barrelhouse album and barrelhouse singing. Hes smoking cigarettes.  ‘Jesus Christ, Jim. Do you have to smoke cigarettes and drink booze? He didnt say  it but it was like, ‘This is what a blues man does. Oh fuck. Thats right. Youre an  old blues man. He says that in one of his lines. ‘Ive been singing the blues since  the world began. And Rick and The Ravens was a surf and blues band from the  South Bay.  ‘Roadhouse Blues. Q: How could Jim Morrison with his Dionysian demeanor write and suggest instruction or guidance lyrically in that song, “Keep your eyes on the road your hands upon the wheel, ” when most of the time he certainly didnt operate or drive a car like this himself? A: Well that was the better Angel. Thats Jim Morrison. Not Jimbo. Jimbo was the guy who took Jim to Paris and said, “lets go and die in Paris. Were going to have a death in Paris. Like Thomas Manns novella Death In Paris. That was Jimbo... Q: In addition, the album brings us as into the water and film noir aspect of Los Angeles.  Water is a principal theme explored. “Ship of Fools. ” The “River of Sadness”  cited in “Peace Frog, ” and the salvation of the ocean and the destination charted in  “Land Ho! ” A: Water, ships. It clicks big time. The water images and that beach down in Venice.  And that ocean side. ‘Moonlight Drive again. And the water always entered  into Morrisons life. And where does his life expire? In the water in the bathtub  in Paris. From the amniotic fluid of his birth to the bathtub in Paris. His final expiration.                Q: Lonnie Mack plays bass on a couple of tracks on Morrison Hotel. He had  an instrumental hit with a version of Chuck Berrys “Memphis. ” A: He was great, man. ‘Roadhouse Blues. Lonnie Mack. He was either recording in  the next studio, or working around us, or came down, I cant remember why he  appears. Paul Rothchild said, “Hey. This is Lonnie Mack. He introduced him to  Robby. ‘Hey, you wanna play some bass? ‘Id love too, guys. Simple as that. That was  a great deal of fun. The album was definitely blues, ‘Raymond Chandler. Downtown  Los Angeles. Dalton Trumbo. ‘John Fante. ‘City of Night John Rechy. Q: Then there is the tune “Peace Frog. ” In 1995 you told me for Goldmine magazine, “Blood in the streets in the town of Chicago” is obviously about the 1968 Democratic Convention in Chicago. It was written after the young people rioted against the war, in Vietnam. ” A: Those are great lines. Morrison goes further to say, ‘Blood is the rose of mysterious union/blood will be born in the birth of a nation. So its the idea that blood is the cleansing property, and from blood will come the healing and the enlightenment of the nation. America is what Jim is singing about. ‘Birth of a Nation. Another cinematic reference. Q: In that interview you mentioned you had a class at the UCLA School of Film with director Josef Von Sternberg ( The Blue Angel, Marocco, Shanghi Express) who applauded your student film Evergreen. “Very good Manzarek. Very good. ” You cited his praise as one of the greatest moments of your life, adding that Sternbergs influence was inherent in the way he paced his movies and the psychological weight of his films informed the way you and Jim together wedded a cinema and music mixture. A: Hes the guy who really kind of gave a real sense of darkness to The Doors, not that  we wouldnt have been there anyway. But having Von Sternberg seeing the deep psychology of his movies, and the pace at which he paced his films, really influenced Doors songs and Doors music. The film school is always there. Our song structure was based on the cinema. Loud. Soft. Gentle. Violent. A Doors song is again, aural, and aural cinema. We always tried to make pictures in your mind. Your mind ear. You hear pictures with the music itself. Q: During 2007 we talked again about Doors catalog utilized in movies and soundtracks. The film school influence is obvious again, especially on ‘LAmerica on Morrison Hotel. A: It was written for the director Michaelangelo Antonioni for his film Zabreskie Point. And we played it for him at the rehearsal studio and backed him up against the wall with the volume. We played it the way we normally play and too loud for this elderly Italian gentleman. I could see him pressed up against the door trying to get out of the place. We finish the song, he slides the door open and steps outside and it was almost like he was saying, ‘Goodbye boys. Goodbye Hollywood. And then he goes with Pink Floyd. It was all too much for him. He just couldnt do it. Q: Just before the album L. Woman formally began, producer Paul Rothchild leaves the project. A: Yes. He did a great service to us. We played the songs in the studio so Paul could hear what the songs were. First at the rehearsal studio and then over to Elektra. I think we went back to Sunset Sound, too. We were bored. He was bored. We played badly. And Paul said, ‘you know what guys? Theres nothing here I can do. Im done. Youre are gonna have to do it yourselves. And he walked out the door. We looked at each other and said, ‘Shit. Bummer. And Bruce (Botnick) said, ‘Hey, Ill do it! Ill be the producer. John (Densmore) said, ‘Well co-produce with you. Bruce said, ‘Thats a deal. Lets all do it together. And then Jim said, ‘Can we record at our rehearsal studio? And we all said, ‘Hey, we play great at our rehearsal studio. Lets do it. Can it be done?   And Bruce said, ‘Of course I can do it there. Ill set the board up and a studio upstairs. You guys record downstairs. Thats where we make the album and it will be virtually live. ‘Yea! And we got excited like that Mickey Rooney and Judy Garland ‘Lets put on a show! “The only thing with Bruce that was really different than working with Paul was that we didnt do as many takes. We knew when we had it. The thing about Rothchild ‘he was a slave driver. Thats not really true. We did do a lot of takes on ‘Unknown Soldier and that drove Robby crazy. Q: And, Jerry Scheff plays bass on L. Woman. A: Botnick brings in a guy who is going to be playing with Elvis Presley. ‘I got Elvis Preesleys bass player. ‘Shit, man. He came in. A very cool guy who is playing with Elvis Presley. Q: And, you and Jim just earlier had watched the Elvis Presley 1968 Comeback Special on television. I wrote the liner notes in 2008 for the CD reissue. Elvis is wearing leather on that program. And I believe Jim had his leather pants made on Sunset Blvd. in 1967, 68. A: Yes. We watched it. Elvis puts on his Morrison outfit. He had seen Morrison. He knew what he was doing. Imitating Jim. Q: L. Woman is a logical step from “Morrison Hotel. ” A: I think its the same Doors but a continual growth, continual evolution of The Doors. Continual revolution of The Doors. Q: The title track L. Woman embodies movement, freedom, lust and dust. A: L. Woman is just a fast L. kick ass freeway driving song in the key of A with barely any chord changes at all. And it just goes. Its like Neal Cassady, Jack Kerouac and Allen Ginsberg heading from L. up to Bakersfield on the 5 Freeway. Lets go, man. Q: The haunting “Riders On The Storm. ” In 1995 you ran down the song to me commenting on that highway and freeway chase depicted. “The storm is an unresolved psyche. We are moving into the Jungian collective unconscious. And those motivations in the collective unconscious are the same in 1976, 1968, 1969 as they are in 1994, 1995. There are needs that we all have on the human planet, and we must satisfy those needs and come to grips with the darkness and the interior of the human psyche. ” A: Its the final classic, man. Interestingly, Robby and Jim come in and were working on ‘Riders On The Storm. And then they start to play it and it sounded like ‘An old cow poke riding out one dark and misty day. It was like ‘Ghost Riders in The Sky. No. We dont do anything like ‘Ghost Riders In The Sky as much as I like it by Vaughn Monroe. And Jim likes it. Whats next? A version of Frankie Laines ‘Mule Train? Doors dont do that. Lets make this hip. The idea is good. Were going to go out on the desert. ‘Theres a killer on the road. This has got to be dark, strange and moody. Let me see what I can do here. It was like ‘Light My Fire. It just came to me. I got it. The bass line. It became this dark, moody Sunset Strip 1948 jazz joint. Q: And, only Morrison could inject a Hollywood movie studio system reference in the lyric ‘an actor out on loan. A: Yeah. How ‘bout that, man. Q: Every Doors concert was unique. Some specific songs in the set but lots of improv  and no set order done every night. A: The concerts were an extension of the audio document. It was not yin and yang.  One was an extension of the other. There were improvisations in the recording studio  but within their soloing sections. And quite frankly, I never knew what I was going  to play. I knew the chord changes. I didnt know how I was going to structure my  A minor 7h chord. That would vary from take to take. It would always be an  A minor 7 th and in he groove. So there was improvisation in the studio but here  was major improvisation live. Because thats the whole point of live.  You have  the record as your foundation and then you build upon that in the live performance. Harvey Kubernik i s the author of 15 books. His literary music anthology Inside Cave Hollywood: The Harvey Kubernik Music InnerViews and InterViews Collection Vol. 1, was published in December 2017, by Cave Hollywood. Kuberniks The Doors Summers Gone was published by Other World Cottage Industries in February 2018.  Its been nominated   for the 2019 Association for Recorded Sound Collections   Awards for Excellence in Historical Recorded Sound Research. During November 2018, Sterling/Barnes and Noble published Kuberniks The Story of The Band From Big Pink to the Last Waltz. In 2019, The National Recording Registry at the Library of Congress in Washington, D. C. have  asked Harvey Kubernik to pen an essay on the landmark The Band album, now celebrating a 50th anniversary edition in 2019.   Harvey Kubernik is currently researching and writing a mult-voice narrative book on Jimi Hendrix for Sterling/Barnes and Noble scheduled for publication last quarter of 2020. Harvey Kuberniks 1995 interview, Berry Gordy: A Conversation With Mr. Motown appears in The Pop, Rock & Soul Reader edited by David Brackett published in 2019 by Oxford University Press. Brackett is a Professor of Musicology in the Schulich School of Music at McGill University in Canada. Harvey joined a distinguished lineup which includes LeRoi Jones, Johnny Otis, Ellen Willis, Nat Hentoff, Jerry Wexler, Jim Delehant, Ralph J. Gleason, Greil Marcus, and Cameron Crowe. Kuberniks 1996 interview with poet/author Allen Ginsberg was published in Conversations With Allen Ginsberg, edited by David Stephen Calonne for the University Press of Mississippi in their 2019 Literary Conversations Series.  Harvey is featured in the 2014 book by Jeff Burger on Leonard Cohen Interviews and Encounters for Chicago Review Press. During 2015 the University Press of Mississippi published a Harvey Kubernik interview with D. Pennebaker in their book series, Conversations with Filmmakers, edited by Dr. Keith Beattie. This century Kubernik wrote the liner note booklets to the CD re-releases of Carole Kings Tapestry, Allen Ginsbergs Kaddish, Elvis Presley The 68 Comeback Special and The Ramones End of the Century. During 2019 Kubernik is serving as a Consultant on a new 2-part documentary on the musical legacy of Laurel Canyon. Alison Ellwood is directing the documentary who helmed the authorized History of the Eagles.   Broadcast date is first quarter 2020 on EPIX Television.

Break on thru: a celebration of ray manzarek and the doors songs. "The Doors: Break On Thru" opens February 12th Photo credit - Henry Diltz Trafalgar Releasing brings the hybrid concert/documentary The Doors: Break on Thru - A Celebration of Ray Manzarek to cinemas worldwide for a one-night only event on Wednesday, February 12th. The film celebrates the extraordinary legacy of the late Ray Manzarek, co-founder and keyboardist of The Doors, on what would have been his 81st birthday. Manzarek died in 2013. Filmed at the Fonda Theatre in Los Angeles, CA, the film, which is a mix of documentary and concert footage, brings the surviving members from The Doors, Robby Krieger and John Densmore, on stage for the first time in 15 years to celebrate the birthday of Manzarek alongside captivating performances from Foo Fighters Taylor Hawkins and Rami Jaffee, Stone Temple Pilots Robert DeLeo, Paul McCartneys Brian Ray, Xs Exene and John Doe, Janes Addictions Stephen Perkins, Govt Mules Warren Haynes and more. The Doors keyboardist and songwriter Ray Manzarek With a set list of Doors classics and compelling behind-the-scenes interviews and footage, the film celebrates the longevity of The Doors, bringing multiple generations together to celebrate this iconic band. Proceeds from the LA concert were donated to Stand Up for Cancer as selected by Ray Manzarek. The concert was a critical success with Rolling Stone saying, “I would not have missed that show for anything. ” The film includes the evenings performances of such Doors classics as Love Me Two Times, Roadhouse Blues, LA Woman, Riders on the Storm and an encore performance of Light My Fire. Truly a rock original, The Doors featured an intoxicating, genre-blending sound, provocative and uncompromising songs, and the mesmerizing power of singer Jim Morrisons poetry and presence, The band had a transformative impact not only on popular music but also on popular culture and was an enormous influence on generations of musicians. Refusing to be mere entertainers, the Los Angeles quartet relentlessly challenged, confronted and inspired their fans, leaping headfirst into the heart of darkness at a time when most bands were caught in psychedelia and peace and love. Lead singer Morrison was a whirling dervish, as Manzarek describes him in the film, tantalizing and terrorizing fans and critics alike. 53 years after their debut album, The Doors music and legacy remain more influential than ever before. The Doors were inducted into the Rock & Roll Hall Of Fame in 1993. The Doors: Break on Thru - A Celebration of Ray Manzarek will be screened in cinemas around the world on February 12, 2020. Tickets are on-sale now at, where fans can also find info on theatres and showtimes.

Break on thru: a celebration of ray manzarek and the doors band

Break on thru: a celebration of ray manzarek and the doors song.