The Doors
London Fog 1966

"It was so depressing that as soon as we finished playing, I would run in front of the Whisky to see Love play in front of a crowd that filled the venue; I wished I was one of Love, they were the ones making it to become someone. And instead, I was in the damn Doors," says John Densmore during the band's period at London Fog. Yet, it was precisely in that hole of a venue (a run-down and dirty former gambling den frequented by sailors, drifters, and drunks, along with some passing businessmen and a few prostitutes) that the Doors laid the foundation for their brief, dazzling, intense, and magnificent history. The Los Angeles band had been struggling for months to get their first demo heard (without Krieger, with the other two Manzarek brothers, and a chick on bass) by all the record companies without receiving any attention; Columbia gave them a 12-month temporary contract but never called them to try and record anything. Then, one day, when the boys went to the office to ask what they intended to do and saw on the desk a list of "bands to eliminate" with their name at the top, they didn't think twice, and, struck by pride, decided to break that sham contract. Before that day, however, the owner of the London Fog, a certain Jesse James (who boasted of being the great-grandson of the famous Missouri outlaw), had heard that the group was under contract and offered them a trial evening. The first night, the four called all their friends from UCLA, the venue was packed, and the owner, satisfied, immediately hired them as the house band. They played almost every day, four performances a night from nine in the evening to two in the morning, for a few dollars. Unfortunately for James, from the second night onwards, the friends didn't come anymore, and the venue returned to its usual squalor. But let's get back to our subjects and these few months (from mid-February to May 7) that they played at London Fog. Here, the band had the time to gain experience and derive every possible advantage from it: Robby and John became aware of their technical skills, Ray honed his left hand for the bass line, but most importantly, James Douglas went from being the shy one who turned his back on the audience to being a performer, though still green, capable of putting on a show. The songs were already numerous; almost all of those from the first two albums, plus many covers of their beloved blues. And then there were the "evolving" tracks like "The End," which started as a "little song" and became what we know today.

This period was therefore fundamental for the Doors; the guys began to make a name for themselves in that wonderful, frenetic, and surreal atmosphere that existed in Sunset Strip. "Let's go hear that new band, with that sexy and crazy singer, they're good," the rumors spread. Ronnie Haran, talent scout of "Whisky A Go Go", noticed them (or rather noticed Morrison) and got them into the most famous venue on the Strip as the house band from May 9 until August; here they played with many greats, here Arthur Lee brought Elektra representatives to hear and sign them, here the two Morrisons played together one night, here James Douglas became what he would soon no longer tolerate, here the legend truly began... but that's another wonderful story to come.

This recording is thanks to an early fan, a certain Nettie Pena, who would steal the recorder from her professor father to go record that new band. The mastering work is by Bruce Botnick, the group's trusted sound engineer and producer of LA Woman. From a purely musical standpoint, it's barely half an hour of music, seven tracks, only two originals and five covers. The sound isn't bad, practically a garage band going at it "heard" by the few patrons chatting in the background. The London was long and narrow with the small stage slightly elevated at the end; besides the guys, there was a Ronda Layne as a GoGo dancer in a cage (for the record, Morrison hooked up with her too or she hooked up with Morrison). What makes this recording beautiful and unique is also its limitation, obviously; they are nonetheless four guys at their very first performances. From the band's, the Strip's, and Los Angeles' historical standpoint, it's a relic. In a limited edition of 18,000 copies, it's a purchase only for old nobles, misanthropes, and fogeys like myself.

You "normal" nobles (but not too much, I hope, awful word!) keep "Absolutely Live" and the other more or less official live releases in circulation. I hope that in this 50th anniversary year, something might surface from the Whisky, it wouldn't be bad. Always remember that Doors live are a band for small clubs or arenas where their sound and Jim's approach with the audience achieved the maximum. Jim needed contact with the audience, their concerts were not regular ones but a true ritual in which music, frontman, audience, and band became a single entity.

Mr Mojo Risin'

Tracklist

Rock Me

Baby, please don't go

You make me real

Don't fight it

I'm your hoochie coochie man

Strange days

Lucille

Digression... James Douglas' grave has been in poor condition for years; out of respect for him and the millions of people who still pass by each year to pay their respects, it should be properly maintained. In this regard, both the heirs and Krieger and Densmore make me pity. If you don't do it wholeheartedly, at least do it for all the filthy money that has made you rich, for crying out loud! The Countess told me, "I'm sure if you had the permissions you'd do it yourself"... obviously...