
Doors guitarist looks back at Val Kilmer as Jim Morrison, band's 60th anniversary
Doors guitarist looks back at Val Kilmer as Jim Morrison, band's 60th anniversary
The meeting took place in early 1990 at the office of director Oliver Stone. It was not an auspicious start.
Robby Krieger, guitarist for the legendary '60s band The Doors, had come to meet Val Kilmer, a young actor who had landed the plum if difficult role of Jim Morrison, the band's lead singer, poet and doomed sex symbol who died at 27 in 1971.
"He came up to me and said, 'Hi Robby, I'm Val Kilmer, I got the gig, I'm going to play Jim,'" Krieger recalls, reflecting with fondness on that encounter in light of Kilmer's passing on April 1 at age 65. "I said to him, 'Really?' I mean, he neither looked nor acted anything like Jim. So I said, 'How did you get the job?'"
And that's when Kilmer, then only 30, casually offered to play Krieger a rough video that showed the actor singing. And boy, could he sing, Krieger recalls.
"It turns out, he had formed a Doors tribute band before any of this had happened, maybe when he was in high school or something," says Krieger. "So he plays me this clip and man, it was damn good. He wasn't dressed like Jim of course, but when I saw that, I said 'OK, this guy can do it.' And obviously, that's what Oliver had thought, too."
Krieger is in a reflective mood of late. The seminal Los Angeles rock band, whose jazz-meets-rock-meets-dark-poetry stood in such stark contrast to the bright San Francisco sound of the late '60s, is celebrating 60 years since its 1965 formation.
To mark the occasion, a new book is due out next month whose title is derived from a Doors lyric, "Night Divides the Day: The Doors Anthology." The hardcover is filled with not only photos and memorabilia that chronologically tracks the band's rise and dissolution, but also interviews and commentary from all four members (drummer John Densmore, 80, is alive but stays largely out of the limelight; keyboardist Ray Manzarek died at age 74 in 2013).
Krieger is also busy gigging with his five-piece band (which includes his son Waylon on vocals) playing many of The Doors' big albums each in their entirety at Whiskey a Go Go, the famous Hollywood nightclub where The Doors served as house band in 1966, a year before the release of their eponymous debut album in 1967. They'll perform "L.A. Woman" on April 26, "Strange Days," on May 29, "Waiting for the Sun" on June 28, and "The Soft Parade" on July 26.
Given how long its been since The Doors made their indelible mark, it's no surprise that for some music lovers Stone's 1991 movie "The Doors" was their introduction to the band.
Kilmer can be credited for a lot of that, says Krieger, who says he met with the actor multiple times during filming, as did drummer Densmore (he notes that Manzarek declined to participate).
"Val sang about 90 percent of the stuff you hear in that movie," says Krieger. "He spent quite a bit of time learning those songs. The bass player in my band is Dan Rothchild (son of The Doors' maverick producer Paul Rothchild), and he said Val and his dad would get together every day and practice going over all The Doors songs he had to do so he could sing them just right. He just put so much into it."
So just how close did he come to conjuring up Morrison? Krieger suggests Kilmer was about as close as one could get.
"A lot of people still don't believe that's Val singing," he says. Then he laughs. "But yeah, I guess you could say, I would know."
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Forbes
5 days ago
- Forbes
John Densmore Talks 60 Years Of The Doors As Told In ‘Night Divides The Day' Book
American rock band The Doors pose for their first album cover, 1967. They are vocalist Jim Morrison, ... More keyboardist Ray Manzarek, drummer John Densmore, and guitarist Robby Krieger. (Photo by Mark and) John Densmore, the legendary drummer for the Doors, recalls coming across a classic rock station one night that bragged about a contest on who currently has the most money in rock and roll. It made Densmore think about his band's early years. 'In the '60s for a few years there — '65 to '67 — we were making music with not the primary motive of getting rich,' he says. 'We wanted to say something about society and make a bunch of money if we could?' 'For example,' he later says, 'when we had our first giant concert riot where people went crazy, [our singer Jim Morrison] went backstage after and said, 'Wow, that was great. All right, let's go to an island and start over.' In other words, his artistic spirit was so pure, [it] practically killed him.' Cover of 'Night Divides the Day' by the Doors. Sixty years after the band formed in Los Angeles — and nearly 54 years since the death of Morrison — the Doors' legacy and influence continue through reissues of their classic albums, previously unreleased live recordings, documentaries and memoirs by the band members. Coinciding with the band's 60th anniversary this year, Genesis Publications recently released the book Night Divides the Day: The Doors Anthology, a dazzling and lavish visual history of the band featuring new interviews with surviving members Densmore and guitarist Robby Krieger and archival commentary from the late Morrison and keyboardist Ray Manzarek. Among the book's highlights are rare and previously unseen photos; memorabilia such as ticket stubs, show posters and Elektra Records publicity material; and a complete discography and tour history. In between ex-Nirvana bassist Krist Novoselic's foreword and Venezuelan conductor Gustavo Dudamel's afterword is guest commentary from Patti Smith, Simple Minds' Jim Kerr, Van Morrison, Nile Rodgers, Nancy Sinatra and others. 'They're just beautiful,' Densmore says of Genesis Publications' previous music titles. 'I was aware of Genesis. I had been given a couple of the books and was duly impressed. And then this came around, and, of course, we would do this. It's the highest quality you can get.' The new book provides another opportunity for Densmore to revisit his time with the band, which he previously addressed in his three books, including Riders on the Storm. His involvement in the Doors began in 1965 when he and his friend Krieger first met Manzarek at a transcendental meditation course. Inner spread of 'Night Divides the Day' by the Doors 'Robby and I were friends in high school,' says Densmore, 'and we were experimenting with then-legal psychedelics, but thought, 'Well, you know there's always danger around knowledge.' So meditation would be a less shattering route. We went to this meditation, and there was Ray saying, 'I hear you're a drummer.' 'I always wanted to play music,' he continues. 'I never thought I'd make a living at it, but I loved jamming. So I went to Ray's garage, and there was Jim, who'd never sung. I thought, 'He's not the next Mick Jagger.' But Ray handed me [Jim's] lyrics: 'You know, the day destroys the night/Night divides the day/Tried to run, tried to hide/Break on through to the other side.' Wow, that's percussive. I thought I'd follow this lead for a while. I'm still following it.' Morrison's reputation as a charismatic and extroverted performer has since become legend, but at the time of the band's formation, he was very shy. 'So shy,' adds Densmore, 'that he wouldn't even sing. He didn't have that deep baritone in the garage. He never sang, so he was shy. And over time, he turned into the Lizard King.' Morrison, Manzarek and Densmore were members of the group Rick and the Ravens, along with Manzarek's two brothers. 'The chemistry between me and Ray was immediate because, eventually, his left hand became the bass player,' Densmore recalls. 'But the chemistry with his two brothers wasn't there. They didn't realize [Jim's] lyrics are so brilliant. What a concept — poetry and rock and roll. 'So they went by the wayside and I brought Robby. I asked him to play bottleneck, which had not been done electrically. Robby did it at his audition, and Ray and Jim wanted it on every song, which meant he was in the band. That was when the chemistry hit. The four Doors were born.' Inner spread of 'Night Divides the Day' by the Doors. As chronicled in the new book, the Doors' early performances in Los Angeles, first at the London Fog and then later at the Whisky a Go Go, were crucial to the band's development and led to their signing with Elektra Records in 1966. 'We rehearsed for about a year,' Densmore says, 'but until you stand up in front of people, you haven't upped the ante,' he says. 'It makes you really listen to each other, which is the key to an ensemble becoming more than its parts. [At] the London Fog, Jim was so nervous. At least he was singing now. He would face us like in the rehearsal. And then slowly at the Whisky, he started to turn around and look at the audience and realize he had some power and developed.' Released in 1967, the group's classic self-titled album was a major critical and commercial success thanks to such memorable songs as 'Break on Through,' 'Soul Kitchen,' the haunting epic 'The End' and their band's first number one hit 'Light My Fire.' Densmore considers that record and 1971's L.A. Woman as his favorites. 'The two of them are sort of like bookends to our career,' he says. 'I like them all. Strange Days was fun. The studio became the fifth Door, in a way.' Musically and lyrically, the Doors were the moody opposite of the hippie, peace-and-love artists coming out of Los Angeles and San Francisco during the mid to late 1960s. 'Jim's lyrics were darker,' says Densmore. 'It was kind of like we were the underbelly of the undeclared Vietnam War. And so at first, I thought, 'This is dark.' But now I'm very grateful because Jim's looking at stuff that people try to hide." The photographs in Night Divides the Days capture the excitement and aura of the Doors onstage, especially through Morrison; certain gigs and tours are referenced in the book, including the infamous 1967 show at the New Haven Arena, where the singer was arrested. 'It was like walking the razor's edge,' Densmore says. 'Some nights, he was in a trance. Some nights, he was too drunk. And that part of him increased, which was really unfortunate. But self-destruction and creativity sometimes come in the same package and they certainly did with Jim.' Morrison's unpredictable behavior due to his drinking grated on Densmore, which he later detailed in his 1989 memoir Riders on the Storm. 'I threw my sticks down and said 'I quit' in the middle of recording Waiting for the Sun. And I came back the next day. How am I supposed to give up a life in playing music? Yeah, we had a wild man as a lead singer, but I was so blessed to be able to make a living at something I loved.' Inner spread of 'Night Divides the Day' by the Doors. More success followed for the Doors with 1967's Strange Days and 1968's Waiting for the Sun albums (which collectively yielded such popular songs as 'People Are Strange,' 'Love Me Two Times' and 'Hello I Love You'). In 1969, the group released the controversial The Soft Parade, which expanded the band's sonic palette by incorporating strings and brass. 'Ray and I had talked about jazz when we first met,' Densmore says. 'We were aware of Miles [Davis] and [John] Coltrane, and we got some sax solos on the album. We wanted to experiment with that. And the critics didn't like us changing our precious Doors now. But 'Touch Me' was number one, so take that! That's what an artist does — you try stuff and some of it sticks to the wall, some doesn't.' The group returned to its blues roots on the next record, 1970's Morrison Hotel, which was considered their comeback and contained another Doors classic, 'Roadhouse Blues.' That was followed a year later with L.A. Woman, which turned out to be the band's final recording with Morrison. It was a critical and commercial success whose highlights included the driving title song, 'Love Her Madly' and 'Riders on the Storm,' the latter showcasing Densmore's jazz chops. Of his memories of recording 'Riders on the Storm,' Denmore says: 'When we overdubbed the thunder and rain, it was like playing God. We had the tape machines queued up to various thunderclaps. And then we could just drop one in wherever we wanted, like after a guitar solo or something. So it was really fun creating the sonic natural atmosphere of nature.' The album was recorded at a time when Morrison was mired in legal turmoil following the band's 1969 show in Miami in which he allegedly exposed himself. Asked whether the incident may have been a foreshadowing of the end of Morrison — who died on July 3, 1971, in Paris at the age of 27 — Densmore responds: 'The razor's edge again. I thought, "Oh my God, this guy's going to self-destruct in a minute.' 'Oh, no, maybe he's going to live to be an 80-year-old drunk.' I don't know. I knew Miami was trouble. 'Somebody said to me, 'Hey, if Jim hadn't met you three guys, maybe he would have died sooner.' I thought, 'Oh, my God, what a thought.' He had this creative energy and he really needed to get it out. He heard a concert in his head, and we helped him manufacture that.' Inner spread of 'Night Divides the Day' by the Doors. The book covers the post-Morrison Doors, with Manzarek and Krieger taking up the vocal duties; the trio lineup lasted two albums. 'We didn't want to give up the musical synchronicity the trio had developed, being Jim's sonic mattress that he lay on top of,' says Densmore. 'Ray and Robby tried to sing. I mean, they're fine, but it wasn't Jim. And so after a couple of albums, we're like, 'Okay.' Our focal point is gone, and we had other solo projects in mind, so it was over.' The surviving members briefly reunited to record new music to accompany Morrison's spoken word poetry for the An American Prayer album, released in 1978. Over the next decades, the Doors' popularity grew with the inclusion of 'The End' in the 1979 Francis Ford Coppola movie Apocalypse Now; releases of Doors compilations and live recordings; the 1991 biopic movie directed by Oliver Stone; and the memoirs penned by Densmore, Manzarek and Krieger. Today, Densmore remains active in music with his projects, including one with keyboardist Adam Holzman, who had previously played with Miles Davis (His father is Jac Holzman, the Elektra Records founder who signed the Doors in 1966). Densmore's other project is an 'alt-hip-hop' collaboration with Public Enemy's Chuck D as doPE, an amalgam of the two artists' respective bands' names. As the two remaining members of the band, Densmore and Krieger are keeping the band's legacy alive not only through this new book but also in public — with Densmore recently guesting with Krieger's solo band at the Whisky, where they have been performing Doors music on a monthly residency. 'It was really a brilliant idea [by Robby's band] to do an entire album each month,' Densmore says. 'And so I sat in. I wanted to play 'Riders' and the one before that is 'The Wasp (Texas Radio and the Big Beat).' It's very difficult rhythmically. So I said to the audience, 'I've never played this song live. Wish me luck.' And we got through it.' Inner spread of 'Night Divides the Day' by the Doors. On this 60th anniversary year – amid the release of Night Divides the Day and an upcoming screening of the band documentary When You're Strange in New York City — interest in the Doors shows no sign of waning. Asked about people's continued fascination with the Doors, Densmore breaks it down to the core components of the band. 'You got this Adonis-looking Michelangelo's 'David,' who's full of brilliant poetry, and we just worked real hard to support his vision and get that concert out of his head," he says. "It's Ray's classical and Chicago blues, Robby's flamenco, my jazz and Jim's words that made this mixture.' .Night Divides the Day: The Doors Anthology is now available through Genesis Publications.


CNET
6 days ago
- CNET
This Ultimate Y2K Sci-Fi Movie Made Virtual Reality Seem Almost Too Real
I've wanted to rewatch the sci-fi thriller Strange Days for a long time, but I kept forgetting because, honestly, I couldn't remember the title. I finally came across it on Hulu and checked it out, and I can't stop thinking about it. Though Strange Days was released back in 1995, it looks and feels like it could've come out yesterday. It's one of those rare old movies that imagined the technology of virtual reality, or VR, without turning it into a gimmick. Strange Days takes place in 1999 Los Angeles during the last 48 hours of the millennium. Lenny Nero, played by Ralph Fiennes, is a former cop who now peddles an illegal virtual reality experience called Playback. Nero's friend and bodyguard, Mace (Angela Basset), tries to keep him rooted in reality and away from trouble. Together, they work to track down a brutal rapist and murderer -- a man who uses VR Playback discs to record his crimes from his own point of view. The movie wasted no time dropping me into its jarring setting: The opening scene is an armed robbery filmed in first-person perspective, with the robber running from cops and jumping from one rooftop to another. A couple of scenes later, I saw tanks on the streets of LA and heard radio callers declaring that the world would end at the stroke of midnight on Jan. 1, 2000. Strange Days reminds me of the best Black Mirror episodes -- both deeply disturbing and uncomfortably close to home. Director Kathryn Bigelow was influenced by the 1992 LA riots and incorporated those elements of racial tension and police violence into her work. The result is a movie that's sometimes difficult to watch but impossible to look away from. At the same time, Strange Days is grounded by emotion. Nero (Fiennes) spends a good portion of the movie reliving memories of his failed relationship with the singer Faith (played by actress-turned-rocker Juliette Lewis). Lying in bed while he plays back footage of happier days, he can trick himself into believing he's roller skating with Faith again -- until the disc stops spinning and he opens his eyes, back in the lonely present day. "This is not 'like TV only better,'" says Nero, as he introduces the VR Playback tech to one of his clients. "This is life." But Bassett's character, Mace, believes otherwise, at one point confronting Nero over his attachment to his "used emotions." "This is your life!" says Mace. "Right here! Right now! It's real time, you hear me? Real time, time to get real, not Playback!" As I watched Strange Days in 2025, I couldn't help thinking of the virtual reality devices that exist today. VR headsets like the Meta Quest 3 and Google's upcoming AR glasses are bringing us closer than ever to the Playback tech in the film. And the immersive spatial videos for the Apple Vision Pro can make you feel like you're really reliving a three-dimensional recorded memory. As I considered the similarities between our current tech and Strange Days' Playback discs, I wondered if the future wants to be haunted by the past. Despite being 30 years old, Strange Days' special effects hold up incredibly well. Where other 1995 sci-fi flicks like Hackers and Johnny Mnemonic experimented with early computer-generated imagery, Strange Days went for a more practical approach: Characters shift in and out of the Playback footage with a simple analog distortion effect, just like you'd find while watching home videos on VHS tapes. The point-of-view shots were carefully choreographed, and the resulting footage looks like you're viewing it through the recorder's eyes. Strange Days also features standout musical acts. Juliette Lewis, in character as Faith, belts out two PJ Harvey tracks in on-screen performances that recall the best of '90s grunge. Rapper Jeriko One (played by Glenn Plummer) delivers biting social commentary in his music video. And contemporary artists Aphex Twin, Deee-Lite and Skunk Anansie perform during the movie's bombastic final act, a New Year's Eve rave in downtown LA. (It was a real-life concert with 10,000 attendees.) Strange Days is both a thrilling action movie and a mind-bending exploration of technology and memory. I'm surprised it was a box-office flop in 1995, and I wish it had received the recognition it deserved then. Still, I'm glad this sci-fi masterpiece is available to stream today. Though Strange Days isn't the easiest title to remember, the movie itself is unforgettable.


San Francisco Chronicle
26-05-2025
- San Francisco Chronicle
Noah Kahan closes BottleRock with a fall, an apology and a show-stopping encore
Self-deprecation can quickly become a well-worn routine, but for Noah Kahan, it's an art form. When the folk-pop sensation took the JaM Cellars Stage on Sunday, May 25, for his BottleRock Napa Valley debut — on the final night of the three-day music festival — with braided hair and a ragged floral shirt, he commented that his outfit 'probably costs less than one glass of wine here.' Then, after delivering a mandolin-backed rendition of 'All of My Love,' Kahan appeared truly stunned by the applause. 'I can't believe you guys are all here for me,' he said. 'I feel like some mistake has been made. I'm incredibly honored to be headlining a festival like this.' Later in the set, a minor stumble onstage during a lively version of 'New Perspectives' left him momentarily crestfallen. Yet, the moment only endeared him to the crowd. 'Please post that clip on social media and add to my misery,' he quipped. Despite his ongoing self-doubt, the 28-year-old Vermont singer-songwriter, who gained widespread fame after his 2022 album 'Stick Season,' had the audience listening with hushed reverence. His concert, which included favorites like 'Northern Attitude' and 'She Calls Me Back' felt remarkably intimate, even amidst the mass of diverse festivalgoers. Kahan's excitement to be back on stage after a year-long break was palpable. 'I haven't played a show in so long, so this is so f—ng cool,' he said. The emotionally charged performance offered a mix of songs about heartbreak and mental health, all buoyed by Kahan's infectious spirit. Among the highlights was 'The Great Divide,' an unreleased track from his upcoming album that immediately had the crowd singing along. Kahan also poked fun at the luxurious Wine Country festival's indulgent atmosphere, turning his attention to the VIP section. 'Congrats on the money,' he said with a grin. After a euphoric rendition of 'Dial Drunk,' Kahan seemed to fully embrace the spirit of BottleRock. 'I'll die for you, Napa,' he declared. 'I almost did earlier,' he added, referencing his earlier fall. As the set continued, Kahan's characteristic self-awareness persisted. 'Is this the last show of the weekend?' he asked, looking alarmed. 'Talk about leaving on a sad note. Sorry.' But the night wasn't over. Kahan closed out the three-day festival with a cathartic, all-hands-on-deck performance of his biggest hit, 'Stick Season,' leaving the crowd on a high note. 'If I ever do headline another one of these festivals again, I hope it will be this one,' Kahan said, his voice thick with gratitude. 'We love you, BottleRock. I'd stay out here forever if I could.' Still, there were plenty of other musical high points on BottleRock's final day. Robby Krieger of The Doors performed two hours of faithful covers of songs by his former band, while Cage the Elephant's energetic set on the Verizon Stage kept fans on their toes. Earlier, 18-year-old rock sensation Grace Bowers commanded the main stage, and jam band Goose delivered their signature feel-good vibes. Meanwhile, Khruangbin offered their signature, spacey instrumental explorations, creating an eclectic sonic landscape. On the Williams Sonoma Culinary Stage, BottleRock's signature blend of music and food continued to shine, with celebrity cooking demonstrations from San Francisco 49ers stars George Kittle and Kyle Juszczyk, MLB Hall of Famer Ken Griffey Jr. and Howard Stern show's Gary 'Baba Booey' Dell'Abate, alongside renowned chefs like Bobby Flay, Kristen Kish and Joshua Weissman.