P R E S S R E L E a S E

Total Page:16

File Type:pdf, Size:1020Kb

P R E S S R E L E a S E THE DOORS LAUNCH INTERACTIVE iPAD APP, EXCLUSIVELY ON THE APP STORE Groundbreaking Band Invites Fans On Immersive Digital Journey, Telling Their History Through Interactive Content, Music, Photos, Videos, Memorabilia And Graphic Novel LOS ANGELES – The Doors are once again poised to break on through with a first-of-its- kind iPad app, THE DOORS, available exclusively on the App Store. The app brings the band‘s story to life with an unprecedented immersive experience that delves deeply into every aspect of The Doors‘ iconic career with interactive content, unpublished band images and artwork, rare videos, music, and much more. THE DOORS APP was conceived and produced by Elektra Records founder Jac Holzman, who signed the Doors to the label in 1966, and Robin Hurley; along with the participation of drummer John Densmore, guitarist Robby Krieger and keyboardist Ray Manzarek, and the estate of the late singer Jim Morrison. Holzman, a true pioneer in the music industry, comes full circle with this app. A pivotal force throughout the band‘s career, he now brings them into the digital age with another visionary project that redefines how a band‘s work can be chronicled in the virtual realm. ―The genesis of this project began with a desire to digitize the boxed set, to use new technology to improve upon a much-loved fan experience. It made total sense to choose The Doors. They have always been ‗ahead of the curve‘ artists and their story is one of the great sagas in rock,‖ says Holzman. ―Together with the band, we tell a compelling tale using materials from The Doors‘ own archives plus the hundred of other sources we chased down – a wealth of treasures including previously unseen photos, fresh interviews, and behind the scenes insights and reflections. Delivered in a single download, this is a riveting approach to showcasing a band's entire career. I believe we have set the bar higher for future music apps… and that is a very good thing to do!‖ An intimate portrait of the band enjoying a drink at the Hard Rock Café — taken by legendary photographer Henry Diltz during a shoot for the Morrison Hotel album — greets visitors on the home page and guides them on a journey through the living history of one of rock‘s most fascinating and incendiary groups. THE DOORS APP is divided into several sections, with the The Story button leading to the true centerpiece, proving endlessly intriguing for both veteran fans and new initiates with hundreds of photos, videos, and interviews. All six albums recorded by the original Doors foursome, as well as the two albums recorded later by the Doors as a trio, are spotlighted here through essays from counterculture icons including Patti Smith and Hunter S. p p r e s s r e l e a s e Thompson, Doors historians such as David Fricke, Greil Marcus, and archivist David Dutkowski, as well as pieces from the band and personal reminiscences shared by Holzman. The Story section also highlights extensive technical notes detailing all the equipment used to create every studio album. Rhino Entertainment 3400 West Olive Avenue, Burbank, CA 91505 • ph: (818) 238-6200 fax: (818) 562-9235 Among the other centerpieces of The Story section is a graphic novelization of the notorious Miami Incident, where Morrison was falsely accused of exposing himself during a 1969 concert. The infamous episode comes to life here through drawings by award-winning comic book artist Dean Haspiel, words by Adam Holzman (son of Jac), and rare audio of Morrison recorded during the show. This section also includes the once-confidential FBI report, the arrest report, a portion of Jim‘s tongue-in-cheek testimony, Morrison‘s mug shot, and his posthumous pardon issued in 2010. Also featured are a comprehensive Timeline, a Cast Of Characters listing key people in the Doors‘ universe, an interactive Doors Map of LA that focuses on prime locations in the band‘s history, a Gallery filled with rare and iconic images, all song lyrics, in-app links to social media and the iTunes store, and a customizable My Favorites area. All told, the app features over 500 images including band photos, album art, singles, international releases and memorabilia (posters, ticket stubs, advertisements, press releases, contracts, and related correspondence). The app also includes 44 short form videos and 60 audio segments. Holzman had referred to The Doors app as a ―1500 piece jigsaw puzzle in three dimensions, which arrives on your iPad, elegantly pre-assembled.‖ THE DOORS APP is available for $4.99 from the App Store on iPad or at www.AppStore.com. To coincide with the launch of THE DOORS APP, each of The Doors‘ studio albums have been Mastered For iTunes by their longtime producer Bruce Botnick and are now available exclusively on iTunes. Three new digital boxed sets (The Complete Studio Albums and Strange Nights Of Stone Vol. II – The Bright Midnight Archives Concerts) as well as two Mastered For iTunes compilation albums (The Very Best Of and The Future Starts Here: The Essential Doors Hits) are also available now on iTunes. # # # Rhino Entertainment 3400 West Olive Avenue, Burbank, CA 91505 • ph: (818) 238-6200 fax: (818) 562-9235 .
Recommended publications
  • Roadhouse Blues (The Doors)
    ROADHOUSE BLUES The Doors (Morrison Hotel - 1969) http://marcelomelloweb.net/mmblueshistoriaforma.htm) INTRO: E G E (RIFF1) E (RIFF1) G E Ah, keep your eyes on the road, your hand upon the wheel E (simile) G E Keep your eyes on the road, your hand upon the wheel E Yeah, we're going to the roadhouse, gonna have a real, G E a good-time E G E (RIFF1) E (RIFF1) G E Yeah, the back of the roadhouse, they got some bungalows E (simile) G E Yeah, the back of the roadhouse, they got some bungalows E (RIFF2) And that's for the people who like to go down slow A Let it roll, baby, roll, (3x) B C B (RIFF3) E Let it roll All night long SOLO = INTRO: E G E (RIFF1) E (RIFF1 parte1) You gotta roll, roll, roll, you gotta thrill my soul, all right E (simile) Roll, roll, roll, roll, thrill my soul You gotta beep a gunk a chucha, Honk konk konk You gotta each you puna, Each ya bop a luba Each y'all bump a kechonk, Ease sum konk Ya, ride 1 THE DOORS - Roadhouse blues E (RIFF1) G E E (RIFF1 parte1) Ashen lady, Ashen lady E (simile) Give up your vows, give up your vows Save our city, save our city Ah, right now E (RIFF1) G E Well, I woke up this morning and I got myself a beer E (simile) G E Well, I woke up this morning and I got myself a beer E (RIFF1) (RIFF2) The future's uncertain and the end is always near REFRÃO RIFF1 RIFF2 RIFF3 2 THE DOORS - Roadhouse blues ROADHOUSE BLUES - BLUES DA HOSPEDARIA Keep your eyes on the road, Mantenha seus olhos na estrada, your hand upon the wheel suas mãos no volante Yeah, we're going to the roadhouse, Yeah, estamos indo
    [Show full text]
  • Jim Morrison's Mythography Beyond the Death of God
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2009 Vision and desire: Jim Morrison's mythography beyond the death of God Ellen J. Greenham Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Poetry Commons Recommended Citation Greenham, E. J. (2009). Vision and desire: Jim Morrison's mythography beyond the death of God. https://ro.ecu.edu.au/theses/16 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/16 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • Strange Days: the American Media Debates the Doors, 1966-1971
    University of Vermont ScholarWorks @ UVM UVM Honors College Senior Theses Undergraduate Theses 2015 Strange Days: The American Media Debates The Doors, 1966-1971 Maximillian F. Grascher Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Grascher, Maximillian F., "Strange Days: The American Media Debates The Doors, 1966-1971" (2015). UVM Honors College Senior Theses. 67. https://scholarworks.uvm.edu/hcoltheses/67 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. Strange Days: The American Media Debates The Doors, 1966-1971 Maximillian F. Grascher 2 Introduction Throughout the course of American history, there have been several prominent social and political revolutions carried out by citizens dissatisfied with the existing American institutions run by the government and its civil servants. Of these revolutions, Vietnam War and civil rights protest among youth in the 1960s was of the most influential, shaping American society in the decades to come. With US involvement in Vietnam escalating and the call for African-American civil rights becoming more insistent by the year, thousands of America’s youth took to the streets to protest the country’s foreign and domestic policies and to challenge the US government, much to the anger of America’s older generations. Artists played a critical role in the unrest, including musicians who encouraged a reformation of American society’s established norms through revolution.
    [Show full text]
  • Drum Anthology
    DRUM ANTHOLOGY © Doors Property, LLC photographed by Bobby Klein Produced by Alfred Music P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com Transcribed by Howard Fields Printed in USA. No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, stored in a retrieval system, or transmitted by any means without written permission from the publisher. In order to comply with copyright laws, please apply for such written permission and/or license by contacting the publisher at alfred.com/permissions. ISBN-10: 1-4706-1981-4 ISBN-13: 978-1-4706-1981-7 Cover photo: © Doors Property, LLC photographed by Paul Ferrara Cover and inside photos courtesy of Jampol Artist Management, Inc. Album art: The Doors © 1967 Elektra Records • Strange Days © 1967 Elektra Records • Waiting for the Sun © 1968 Elektra Records • The Soft Parade © 1969 Elektra Records • Morrison Hotel © 1970 Elektra Records • L.A. Woman © 1971 Elektra Records 2 CONTENTS DRUMSET NOTATION LEGEND 9 LOVE STREET 57 NOT TO TOUCH THE EARTH 66 BLUE SUNDAY 75 PEACE FROG 71 BREAK ON THROUGH (TO THE OTHER SIDE) 47 PEOPLE ARE STRANGE 51 THE CRYSTAL SHIP 28 RIDERS ON THE STORM 41 FIVE TO ONE 30 ROADHOUSE BLUES 34 HELLO, I LOVE YOU 54 SOUL KITCHEN 77 L A WOMAN 16 SPANISH CARAVAN 60 LIGHT MY FIRE 10 TOUCH ME 81 LOVE HER MADLY 24 TWENTIETH CENTURY FOX 38 LOVE ME TWO TIMES 85 WILD CHILD 63 © Doors Property, LLC photographed by Paul Ferrara 10 LIGHT MY FIRE Words and Music by THE DOORS Moderately Œ = 126 Intro: C.C.
    [Show full text]
  • Roadhouse Blues
    Roadhouse Blues Intro Signature riff |------------------------------------ |------------------------------------ |------------------------------------ |------------------------------------ |------------------------------------ |--0-00-00-0-5h6h7—-0-00-00-0-5h6h7-- E Keep your eyes on the road, your hands upon the wheel A E Keep your eyes on the road, your hands upon the wheel B7 A E We're going to the roadhouse we're gonna have a real, good time E In the back of the roadhouse they got some bungalows AE In the back of the roadhouse they got some bungalows B7 A E Just for the people who like to go down slow A7 Let it roll, baby roll E Let it roll, baby roll A7 Let it roll, baby roll B7 A7 E Let it roll, all night long (solo 1 play over two verses) E You gotta roll roll roll, you gotta fill my soul all right AE Roll roll roll gotta fill my soul, ya gotta chack a coop comp comp ya gotta cheep com B7 A E Bomp bomp ba bee bop a lula comp comp cha ching na na git ta dong cha che E Ne dat cha bop ba chew chow channa nanna bew cow low low choow AE Bop chew chong bee bow cow now, choow now now chow mow mow ba ba ba B7 A E Cow now chow cow ba ca ca ca cha cha cha k cha cha chow chay now all right “Roadhouse Blues” by The Doors from “Morrison Hotel” 1970 Roadhouse Blues Pg 2 (solo 2 play over one verse) E Ashen lady E Ashen lady E Give up your vows E Give up your vows E SAVE OUR CITY A SAVE OUR CITY E Right now E Well, I woke up this morning, I got myself a beer AE Well I woke up this morning, I got myself a beer B7 A E The future's uncertain and the end is always near A7 Let it roll, baby roll E Let it roll, baby roll A7 Let it roll, baby roll B7 A7 E Let it roll, all night long “Roadhouse Blues” by The Doors from “Morrison Hotel” 1970.
    [Show full text]
  • 8.103 Crenshaw
    Five to One: Rethinking the Doors and the Sixties Counterculture 1 CHRISTOPHER CRENSHAW “Five to One” is an evocative phrase. For listeners aware of the Doors song by the same title, it can bring to mind images of sex, fear, death, freedom, revolution, or simply drugs and alcohol. It can be a good-time anthem or a sobering indictment of the sixties. For listeners in the sixties, this double meaning was likely intentional. The song’s lyrics are loaded with double- or triple-meanings. In the 1968 recording from the LP Waiting for the Sun, lead singer Jim Morrison’s vocals are at times audibly slurred; but the song starts off strong. “Love my girl, she lookin’ good,” Morrison almost whispers into the microphone, establishing a sexual tone from the beginning before letting his listeners know that “no one here gets out alive.” Joan Didion remarked on this sex/death duality in an essay in The White Album (1979). The Doors, she claimed, were “missionaries of apocalyptic sex.” They “seemed unconvinced that love was brotherhood and the Kama Sutra” and “insisted that love was sex and sex was death and therein lay salvation.”2 Other double meanings in the song are equally illustrative. In the next stanza Morrison sings, “they got the guns, but we got the numbers.” At face value, the lyric can be interpreted as an overt political message. The police may have “the guns,” but the people “got the numbers.” Organist Ray Manzarek, however, revealed another meaning of the song in a 1968 interview in Life magazine.
    [Show full text]
  • The Doors 1993.Pdf
    the doors The Doors are somewhat of an anomaly in the rock pan­ only the keyboard parts but simultaneously (with his left theon. They weren’t part of the peace and love Airplane- hand) propelled the band with melodic driving bass lines. Dead-Quicksilver acid-rock movement of San Francisco. John Densmore, a jazz drummer with an unbeatable knack They had nothing to do with the English invasion, or even for shamanic rhythm and theatrical timing ... die band’s conventional pop music fee that matter* Evon in their home tireless engine. Robby Krieger, a songwriting secret weapon town of Los Angeles they were considered a world apart who could play any guitar, from classic flamenco to botde- from the predominantly folk-rock peerage of the Byrds, neck blues, to creating styles and sounds previously unheard Buffalo Springfield and Mamas and Papas. on this planet. And Jim Morrison, the baritone, eclectic/elec- The Doors were never part of any movement. Indeed, tric poet with an innate compositional gift and the soul of a Coring an era of vfcry high fliers, their visionary trajec­ mystic. Together these men brought The Doors’ songs to tory sought an orbit positioned well outside of the rock life — they were equal points of a musical diamond. norm. Their journey was driven by a unique group One night, just before the group was to go on stage, a disc vision and a determination to push the envelope of jockey announced to the audience, “Ladies and gendemen, poetry, spirituality, intellect and psycho-sexual explo­ please welcome Jim Morrison and The Doors.” As the DJ ration in popular music as far as possible.
    [Show full text]
  • Perspectives on Jim Morrison from the Los
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Criticism lighting his fire: perspectives on Jim Morrison from the Los Angeles Free Press, Down Beat, and the Miami Herald Melissa Ursula Dawn Goldsmith Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Goldsmith, Melissa Ursula Dawn, "Criticism lighting his fire: perspectives on Jim Morrison from the Los Angeles Free Press, Down Beat, and the Miami Herald" (2007). LSU Master's Theses. 2872. https://digitalcommons.lsu.edu/gradschool_theses/2872 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. CRITICISM LIGHTING HIS FIRE: PERSPECTIVES ON JIM MORRISON FROM THE LOS ANGELES FREE PRESS, DOWN BEAT, AND THE MIAMI HERALD A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Melissa Ursula Dawn Goldsmith B.A., Smith College, 1993 M.A., Smith College, 1995 M.L.I.S., Louisiana State University, 1999 C.L.I.S., Louisiana State University, 2002 Ph.D., Louisiana State University, 2002 December 2007 © 2007 Melissa Ursula Dawn Goldsmith All Rights Reserved ii To my mother Ursula, who introduced me to the many wonders of Venice Beach, Santa Monica Pier, and to the music of The Doors.
    [Show full text]
  • The Doors: Vinyl Restoration
    The Doors: Vinyl Restoration The process of restoration and mastering this vinyl reissue took place over a three-month period, starting with the gather- ing of all the original stereo and, where available, monaural master tapes as well as the 1:1 safety copies and original EQ copies. All the tapes were originally mixed from 1/2” 4 track and 1” 8 track to 1/4” 15 ips NAB analogue tape records, gen- erally on Ampex 351 tube/valve machines. (In the U.K. tubes are known as valves.) In 1968, starting with The Doors’ third album, EKS-74024 Waiting For the Sun, in order to optimize tape hiss we introduced the Dolby A-301 noise-reduction system. I believe that this album in particular was the first multi-channel recording in the U.S. to employ Dolbys; it required five stereo units, four for the 8 track recorder and one for the stereo mix. It all began in January 1967 with The Doors EKL-4007 monoaural and EKS-74007 stereo. You’ll have to forgive my suing the old Elektra nomenclature numbering system of its releases; I know the albums by their numbers and it’s kind of fun to hold on to the memories of that fabulously creative time through these albums. Just Google these numbers, EKS-74007, EKS-74014, EKS-74024, EKS-75005, EKS-75007, and lastly EKS-75011. All these numbers will take you directly to hundreds of portals that recognize The Doors release num- bers. To do the restoration from the original analogue tape masters, we purchased a new remanufactured Ampex ATR-102 with Aria Class A Electronics.
    [Show full text]
  • Leon Barnard Interviews Leon Barnard
    Leon Barnard interviews Leon Barnard * about his days with The DOORS. copyright 2017 ~ all rides reserved Forward: Leon was the The Doors’ press agent from early 1969 thru September 1970 when Bill Siddons fired his ass for misbehaving. Keep in mind Leon is interviewing himself: As I began thinking about writing this story I was a bit confused about where to begin. And then after a few days of pondering that question, I decided to do an interview with myself. For what better way would there be for me to get to my, truth, than to dig for it in places only known to me. It seemed like a good idea at the time, so lets get started. First question: “Leon, why are you writing this with double spacing?” “Well mainly so it can be read easily and there is plenty of room to pencil in corrections if I need to. I see this as a type of treatment – even though I know it is not -- and it makes me feel like I’m living in a movie that is playing continuously inside my head. I see it as a film for all seasons, with no real commercial value, but hopefully my make-believe movie will entertain those who read it as I continue to write it, and as my story unfolds. Writing it, is half the fun of it. And the storyline is true. Basically it’s a free association project, and I find out things about myself I didn’t know before I tapped these first few words single-finger’dly on my laptop computer.” “That’s interesting, do you think everyone has a story to tell?” “Yes, I think everyone should write a movie script of their own, assuming they are living a life about which to write.
    [Show full text]
  • 90 “HEY, WHAT's YOUR NAME?”: ANTHROPONYMICS in the LANGUAGE PICTURE of the WORLD of JIM MORRISON B.Ya. Sharifullin Introd
    90 B.Ya. Sharifullin UDC 811.111 DOI: 10.17223/24109266/8/10 “HEY, WHAT’S YOUR NAME?”: ANTHROPONYMICS IN THE LANGUAGE PICTURE OF THE WORLD OF JIM MORRISON B.Ya. Sharifullin Lesosibirsk Pedagogical Institute (Lesosibirsk, Russian Federation) E-mail: [email protected] No one remembers your name When you’re strange “People are strange” Abstract. In the article, the anthroponyms are considered as one of the key fragments of the language picture of the world of American poet and musician Jim Morrison. The symbolism of names, which is important for all lingual cul- tures, in the poetics of Jim Morrison is manifested in a special way, because of his specific perception of the people, especially the women, with whom Jim Morrison’s relations were not the simple due to a specific life of rock- musician in California of the flower revolution epoch. In the Jim Morrison’s linguistic picture of the world, the elements of European (Antique, Germanic, Celtic) culture and culture of North American Indians are invented. Jim Mor- rison has created also his own cultural code, the American one, more exactly, a code of California, and the appropriate poetics of myths, that are reflected in his poetic texts. Therefore, the anthroponyms in the lyrics by Jim Morrison re- flect all these cultural codes. In the article, the most interesting cases of inclu- sion of the anthroponyms in his lyrics are presented. English quotations from the songs are accompanied by Russian translations made by the author. Keywords: language picture of world; cognitive and typological reconstruc- tion; symbolism of name; anthroponyms; Jim Morrison; The Doors.
    [Show full text]
  • THE DOORS MORRISON HOTEL 50Th ANNIVERSARY DELUXE
    im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 040-5149 1465 [email protected] THE DOORS MORRISON HOTEL th 50 ANNIVERSARY DELUXE EDITION 2-CD/1-LP-Set erweitert The Doors’ fünftes Studioalbum um über eine Stunde unveröffentlichter Session Outtakes, die zeigen, wie sich die Songs im Studio entwickelten Unveröffentlichter Take von „Peace Frog/Blue Sunday” schon jetzt digital erhältlich Deluxe Edition erscheint am 9. Oktober über Rhino Auf ihrem fünften Studioalbum (und ihrer fünften aufeinanderfolgenden US-Gold-Auszeichnung) Morrison Hotel kehrten The Doors zu ihren Ursprüngen zurück und wurden als Rock’n’Roll-Band wiedergeboren. Binnen nur weniger Wochen fertiggestellt und veröffentlicht im Februar 1970, bezog das hartgesottene Album seinen Titel von dem heruntergekommenen Hotel in Downtown Los Angeles, das auch auf dem ikonischen Coverfoto von Henry Diltz zu sehen ist. Zum 50. Jubiläums des Albums checkt Rhino noch einmal im Morrison Hotel ein, mit einem 2-CD/1-LP Set, das am 9. Oktober erhältlich sein wird. MORRISON HOTEL: 50TH ANNIVERSARY DELUXE EDITION enthält das Originalalbum im neuen Mastering von The Doors’ langjährigem Tontechniker und Mixer Bruce Botnick plus eine Bonus-Disc mit unveröffentlichten Studio-Outtakes und das Originalalbum auf 180g Virgin Vinyl. Die Musik wird am selben Tag auch digital und als Stream erhältlich sein. Ein unveröffentlichter Take von „Peace Frog/Blue Sunday“ ist schon heute digital erhältlich. HIER anhören. Für diese neue Sammlung wurde das ursprüngliche Album um mehr als eine Stunde unveröffentlichter Aufnahmen aus den Sessions für Morrison Hotel erweitert. Die 19 Outtakes nehmen die Hörer mit ins Studio zu Jim Morrison, John Densmore, Robby Krieger und Ray Manzarek und bieten eine nie dagewesene Perspektive auf die Entstehung des Albums.
    [Show full text]