Institute for Contemporary Art Gallery
From Silver 'Jim Morrison - The Ultimate Collected Spoken Words 1967-1970'
NOTES
THE DOORS' FIRST EUROPEAN TOUR ITINEARY
September 5, 1968 - September 20, 1968
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Thu. Sept. 5th BBC-1 TV "Top of The Pops," London, England (with Canned Heat)
Fri. Sept. 6th The Roundhouse, London, England (Early & Late Show with Jefferson Airplane)
Sat. Sept. 7th The Roundhouse, London, England (Early & Late Show with Jefferson Airplane)
Fri. Sept. 13th ZDF-TV "4-3-2-1 Hot & Sweet," Römerberg Square, Frankfurt, West Germany
Sat. Sept. 14th Kongresshalle, Frankfurt, West Germany (Early & Late Show with Canned Heat)
Sun. Sept. 15th Concertgebouw, Amsterdam, The Netherlands (Early & Late Show with Jefferson Airplane)
Tue. Sept. 17th Falkoner Theatre, Copenhagen, Denmark (Early & Late Show with Savoy Brown)
Wed. Sept. 18th Television-Byen, Gladsaxe, Copenhagen, Denmark
Fri. Sept. 20th Konserthuset, Stockholm, Sweden (Early & Late Show with Jefferson Airplane)
The Doors embark on a 17 day tour of Europe flying out of Kennedy International airport in Queens, New York to London on Air India on a 11:00 p.m. flight, which was delayed from a 6:00 p.m. flight schedule. The Doors and their equipment crew land at Heathrow airport on September 3. Granada's television crew meet them at the gate and film the legendary entrance by the four Doors (featured in the Doors Are Open). A press conference follows right at the airport before the band leave.
The band take the next day off to have some rest before the start of their one and only tour outside of America as a four piece. Currently the Jefferson Airplane and Canned Heat are touring Europe and the Doors will catch up with them, schedules permitting, and share billing on upcoming concert dates. (Despite Jim's short appearance on stage during Jefferson Airplane's set in Amsterdam, the Doors didn't play on stage together with neither of the groups.)
On September 5, the tour commences with an appearance on BBC's TV pop show 'Top Of The Pops' (along with Canned Heat) where the band perform 'Hello, I Love You' and 'Light My Fire' with live vocal accompanied with instrumental playback. Jim is obviously not excited in this promotional appearance and it shows. Unfortunately only photos left from this appearance as shortly after the episodes aired, the tapes have been erased. The programme aired weekly and this was a routine at the time due to the big number of acts performing in the program. (As a result, only a handful of the Top of the Pops' 60's material has survived. Even the Beatles 1966 performance hasn't turned up anywhere since then.)
The following day, on September 6 the Doors perform at Roundhouse, the first show of the tour and Granada's television crew is on the spot to film the triumphant concerts. The two sets the band gave were both taped as the first show they filmed was found to be damaged and this led to the filming of the second set - which finally became the basis for the documentary that includes the show partially and released as The Doors Are Open. By chance, a silent colour footage of 'When The Music's Over' from their equally prestigous first show on September 7 got in circulation that must have also been filmed by Granada.
After a few hours rest of their first two shows at Roundhouse, the Doors held an afternoon press conference the next day at London's Institute for Contemporary Art which is filmed by Granada (and also becomes part of The Doors Are Open). Jim thoughtfully fielded questions and deflected political criticism by saying that songs like "Unknown Soldier" spoke for themselves. When a riporter asked about comparisons with Mick Jagger, Jim answered: "I've always thought comparisons were useless and ugly. It's a shortcut to thinking." Another asked about fans coming to him for advice. "I get incredible letters," Jim said, warming to the subject. "But they teach me how to live rather than me teaching them. My fans are intelligent youngsters. Very sensitive people." On September 8 Jim gave yet another an interview to Geoffrey Cannon which later titled as "Stoned But Articulate."
Excpert taken from John Densmore's biography "Riders On The Storm," p.174-175;
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"At the press party in London, Jim dazzled the reporters with his rhetoric. He controlled the conversation with long pauses between each sentence while he weighed his answers. You could see the wheels turning in his head as he took the maximum time tolerable in answering.
I like to try to find some humor in my answers. A riporter asked me about the blending of rock and jazz. I said "It could never happen, but if it could, we're it!" In the middle of the noisy London press party I shouted out, "LET ME SAY THIS ABOUT THAT," mocking the seriousness of the whole affair. Ray responded confidently to the interviews, sometimes in long roundabout ways. He would work himself into a place where he evaded the question entirely and said what he wanted. He gave a short answer to one question. "Do the Doors advocate drugs?"
"Well..." Ray responded, smiling at Jim. Jim smiled back. I felt it was a glib, irresponsible half reply. I decided right then to give a donation to the TM movement in hopes that other young people would be exposed to meditation. TM helped me survive the drug scene; maybe others could benefit. Robby hardly said anything. He just twisted a starnd of his frizzy brown hair and evasively kept quiet. I knew he had thoughts about all these questions but he was too shy."
THE EXPLOSIVE JIM MORRISON
by Mike Grant 1968
Jim Morrison lives in exaggerations- the dragged-out half stumble and the sloth-like stance on stage, the upturned, pouting face with eyes clenched shut, the ponderous but precise speaking voice which is out of the best Brando mould. James Douglas Morrison, Superstar, Poet, and idol of America's rising generation, would be a perfect target for the satirist. That apart, he is not as black as he has been painted. Already prewarned by colleagues of Morrison's erratic behaviour to ward the British press during The Doors' recent and eventful stay here, it did not cool my apprehension any to read, on my way to see Mr. Morrison, his publicist's claim that he can be civil, polite, even erudite one day; yet gross or, as Jim says, "primitive" the next. Which extreme was I about to face?
"He's been quite good today", said his British publicist at Polydor- Elektra Records, with the air of a keeper talking about London Zoo's naughtiest lion. I was ushered into a small room containing The Doors sundry people flitting back and forth with no apparent purpose. Most of them were hovering on the edge of Morrison's conversation and it was Jim, in open-necked shirt and tight black leather jeans, who dominated the room.
Among those present with some purpose were three gentlemen in a Granada Television team filming the whole Doors visit with a rare degree of dedication. A bored-looking Robbie Krieger, Doors' guitar man, was to tell me later that they had even followed one of them to the toilet! Next to Robbie was drummer John Densmore, an active Maharishi student, colourfully attired, who was sitting cross-legged on his chair, saying little and watching the chaos that was supposed to be a press conference. In another corner sat Ray Manzarek with a polite smile on his face and a polite line in answers.
Krieger, hiding behind dark glasses and an uncontrolled growth of beard had some interesting things to say about Morrison in the short interview which came to a sharp end at the sight of a Granada man crawling along the floor and pushing a huge mike up into our faces. A camera was mean while probing the recesses of my left ear.
What of Jim's reported moods? "It depends," said Robbie, "which day of the week you get him. It is just the way he is. I think I understand him as well as anybody through being with him for three years, but I still don't understand him completely."
Morrison certainly knows how to project himself and has an actor's feel for presence. Questions are met by prolonged periods of deep thought accompanied by closed eyes and an intense expression downward. He can often take so long to answer that the poor interviewer finds he's lost track of his precise inquiry. Answers themselves, delivered in a half-stumbling tone reminiscent of Jim's movements on stage, are accompanied by intense glances skyward.
He first wished to extend his praise for the behaviour of the audience during The Doors' two London concerts at the Roundhouse. "They were one of the best audiences we've ever had. Everyone seemed to take it so easy. It was like going back to the roots again and it stimulated us to give a good performance. They were fantastic. That's all I can say. Except that we enjoyed playing at the Roundhouse more than any other date for years."
While on the subject of their stage act, I asked Jim how important the sex angle was. "Sex is just one part of my act. There are a lot of other factors. It is important I guess, but I don't think it is the main thing, although all music is a very nature-based thing. So they can't be separated. But the sex thing has been picked out because it sells papers."
How important were politics in his writing? "I don't think so far politics has been a major theme in my songs. It is there in a few songs, but it is a very minor theme. Politics is people and their interaction with other people, so you cannot really separate it from anything."
I became aware at this point that there was a hint, only a hint, about Morrison that he was reluctant to take himself seriously. The journalist faithfully transcribing Morrison's thoughts to paper would be well advised to glance up from his work for a second- and there you may see just the trace of an inward smile on the handsome countenance. Jim acknowledges that Elvis Presley along with other giants of the era, Little Richard, Jerry Lee Lewis, Fats Domino, Gene Vincent, was an early and strong influence on him. He says: "Their influence was due to their music and the fact I heard them at an age when I was kinda ready for an influence."
Jim was courteous enough to me. But a glimpse of what the "primitive" Morrison could be like came out at the questioning of one persistent reporter who asked him first about the comparisons between him and Mick Jagger. "I've always thought comparisons were useless and ugly. It is a short cut to thinking," replied Jim, in what seemed to be too glib an answer to an off-the-cuff comment. He went into deep thought, with eyes closed and down, and finally replied, "Well, how do you see yourself?" The questioner pressed for an answer. More deep thought. "That's a rhetorical answer. You might as well ask me how do I see my left palm."
I asked him if he found the group's followers coming to him to be taught how to live. "I get incredible letters," he replied, "but they teach me how to live rather than me teach them. My fans are intelligent youngsters and very sensitive.
"On a par with Morrison's writing is his stage performance- often described as evil. Jim prefers the term primeval. "I was less theatrical, less artificial when I began," he says, "but now the audiences we play for are much larger and the rooms wider. It's necessary to project more. I think when your a small dot at the end of a large arena, you have to make up for that lack of intimacy with expanded movements."
Syndication International Ltd. 1968