The Doors Unhinged: Jim Morrison's Legacy Goes on Trial

by John Densmore

Legendary drummer and founding member of The Doors John Densmore unpacks the intersection of art and commerce in this deeply principled middle finger to greed "There are some of us out there who still have principles and cannot be bought. John Densmore is one of them. He is not for sale and that is his gift to us."
— Tom Waits "When you read in these pages about the difficulties in communication suffered by and between surviving band members, you become witness to something very similar to the grief and heartbreak felt by parents who have lost a young child. It wasn't just Jim Morrison that they lost, but their kid, their band, The Doors. Though it's something I don't like to think about, there will come a time when I will be a Dead Rock Star. I can only hope that in my inevitable absence, there will be someone with the integrity and principled behavior of Mr. Densmore looking after whatever legacy our group may leave behind."
—Eddie Vedder IN THE UNHINGED, NEW YORK TIMES  BEST-SELLING AUTHOR  and legendary Doors drummer John Densmore offers a powerful exploration of the "greed gene"—that part of the human psyche that propels us toward the accumulation of more and more wealth, even at the expense of our principles, friendships, and the well-being of society. This is the gripping account of the legal battle to control The Doors' artistic destiny. In it, Densmore looks at the conflict between his bandmates and him as they fought over the right to use The Doors' name, revealing the ways in which this struggle mirrors and reflects a much larger societal that no amount of money seems to be enough for even the wealthiest people.  The Doors continue to attract new generations of fans, with more than one hundred million albums sold worldwide and counting, and nearly twenty million followers to the band’s social media accounts. As such, Densmore occupies a rarified space in popular culture. He’s beloved by artists across the decades for his fierce, uncompromising dedication to art. His writing consistently earns accolades and has appeared in a range of publications such as the Los Angeles Times and Rolling Stone. As his friend and American novelist Tom Robbins recently advised him, "If you keep writing like this, I'll have to get a drum set." This is an incredibly timely and important volume in a contemporary world that is increasingly consumed by an insatiable profit motive. John Densmore has given us a blueprint for an approach to life and culture that is not driven by greed.

Genres: Music, Nonfiction, Biography, Memoir, History, Autobiography

296 pages, Hardcover

First published January 1, 2010

About the author

John Paul Densmore (born December 1, 1944) is an American musician and songwriter. He is best known as the drummer of the rock group The Doors from 1965 to 1973.

Born in Los Angeles, Densmore attended Santa Monica City College and Cal. State-Northridge. In 1965, he joined The Doors and remained a member until the band's dissolution in 1973. According to Densmore's own book, he quit the band on one occasion in reaction to Morrison's increasingly self-destructive behavior, although he returned the next day. He repeatedly suggested that the band stop touring, but Krieger and Manzarek were resistant to this notion. After the Doors' last performance with Morrison in New Orleans in 1970, the band agreed to cease performing live.

Densmore vetoed an offer by Cadillac for $15 million for "Break on Through (To The Other Side)". He later allowed "Riders on the Storm" to be used to sell Pirelli Tires, in England only. Densmore later stated that he "heard Jim's voice" in his ears and ended up donating the money earned to charity.

John Densmore left the world of rock-and-roll in the 1980s, moving to the world of dance as he performed with Bess Snyder and Co., touring the United States for two years.

In 1984, at La Mama Theatre in New York, he made his stage acting debut in Skins, a one-act play he had written. In 1985, he won the L.A. Weekly Theatre Award for music with Methusalem, directed by Tim Robbins. The play Rounds, which he co-produced, won the NAACP award for theatre in 1987. In 1988, he played a feature role in Band Dreams and Bebop at the Gene Dynarski Theatre. He developed and performed a one-man piece from the short story, The King of Jazz, at the Wallenboyd Theatre in 1989. With Adam Ant, he co-produced Be Bop A Lula at Theatre Theatre in 1992. He has acted in numerous TV shows, most memorably as himself in the show Square Pegs, working as a drummer for Johnny Slash's band Open 24 Hours. His film credits include: Get Crazy with Malcolm McDowell, Dudes directed by Penelope Spheeris, and The Doors directed by Oliver Stone.

Densmore wrote his best-selling autobiography, Riders On The Storm about his life and the time he spent with Morrison and The Doors, in the first chapter Densmore describes the solemn day in which he and the band finally visited Morrison's grave around three years after he had actually died; and as drummer and an influential member of The Doors, he was inducted into the Rock and Roll Hall of Fame. He and Robby Krieger worked as technical advisors on the 1991 film, The Doors, but while they were impressed with Val Kilmer's performance as Morrison they were unhappy with the film as a whole.

Reviews

[Caitlin · Rating 3 out of 5]

I got my copy signed by John Densmore himself at Reckless Records in Chicago, which was awesome.

I put the book aside for a few months as I finished reading some other books on my ever-growing to-read list. As a lifelong Doors fanatic (yeah, I know, Jim died about 20 years before I was born, so I'm one of the yung'uns), this book was kind of heartbreaking to read. I'd always known that things were very tense between the remaining members of the Doors because of this lawsuit, but I guess I never realized just how bad things had become.

Other than the lovely Jim Morrison, I've always felt a closer connection to Ray Manzarek. After all, we're both born and raised Southside Chicagoans who attended one of Chicago's single-sex Catholic High Schools. My dad, even though he was also upset to hear of Ray's passing, poked a bit of fun at me, saying most people my age probably wouldn't be as upset as I was over some "old dude" dying. So, it was admittedly hard to read John's snide descriptions of, well, Ray being snide and ignorant as well. Oy vey...

This book definitely paints a different picture of Ray, Robby, and John himself. As mentioned, it breaks my heart a bit to read about the courtroom theatrics (e.g. accusing Densmore of supporting terrorists) and the disregard for the not-so-crazy idea that music is an art that can survive on its own without help from the media. It made me sad that three friends, who created the amazing music that I still love to this day, had reached such lows. At first, it made me feel uncomfortable that Ray wasn't here to defend himself (he passed about a month after the book was published) but maybe it's for the better. Okay, that sounds awful, but after reading the book, it seems like the back-and-forth and fighting amongst brothers would never end.

John at times comes across as arrogant while describing the courtroom proceedings, but he also includes some interesting asides regarding his life post-Doors that are pretty enjoyable. But overall, I would say this is definitely a book for a dedicated Doors fan, as some parts, I think, would drag on for somebody not already familiar with the story of the Doors.

[Michele · Rating 1 out of 5]

Did John Densmore get the "whiney little bitch" prize after publishing this? 'Riders on the Storm' was full of John bashing Jim Morrison, to the point where he was "in a band with a lunatic!!" Now, suddenly (conveniently) he feels the need to protect Jim's honor/legacy/memory? Let's not forget, John was also involved in the decision to allow Buick to use Light My Fire in their commercial before JIM put a stop to it .... I remember hearing about 'The Doors of the 21st Century' tour and being EXTREMELY excited. Thanks for pissing on that dream, John. In NO WAY whatsoever did I feel they were selling out or using Jim's memory for their own gain. What has Densmore profited from these books, these spill all and kill everyone's perception of "The Doors: All For One and One For All" facade? Hey, but that's OK. And, pardon me, but what is wrong with Ray (RIP) wanting to speak of Jim and reach new generations with the story of The Doors? That's how I became a Doors fan at the age of 17, 22 years AFTER the death of Mr. Morrison. And, seriously? Jim's parents ... as if that's going to impress any real Doors fans, who know full well that Admiral Morrison sent his son a typed letter calling him talentless and requesting he quit the music industry. Those people didn't even know he was dead until days after his burial. And, where was John or any of the rest of The Doors when Jim was buried? Where was Jim's "warrior" then? I begged for this book for Christmas ... all I got was John Densmore popping my happy balloon. Believe me, I would have MUCH rather seen a not-so-great concert a decade ago, featuring the 3 remaining Doors, singing and playing their music once more, as opposed to the pages contained within this book that have tainted the ideals of this 20+ years Doors fan. Don't write any more books, John, for the love of all that is holy.

[Lord Beardsley · Rating 5 out of 5]

As a hardcore Doors nyerd since I was thirteen, John Densmore has long been my favorite of the surviving Doors. In his book, "Riders on the Storm" he honestly dealt with his complicated friendship with Jim Morrison, how weird fame is, as well as the feeling of ultimate helplessness that comes from watching a friend of yours self-destruct from substance abuse. He has always written beyond just the standard "rock music memoir", choosing instead to use that as a platform for exploring more complex external and internal conflicts as well as writing sincerely about the joy of art, humanity, and the human experience.

I was shocked when a few years ago, "The Doors" began touring again with the moniker: "The Doors of the 21st Century". I remember feeling truly grossed out and saddened that they had become victim to touring as a has-been band. Thakfully, Densmore writes about why he so stubbornly refused to be part of that, as well as why he has firmly balked at pretty much all offers to use Doors songs for ads (one such being Apple). As I'm writing this, "The Sounds of Silence" is being played on a car commercial, a song so sad and heartfelt that I am doubly heartbroken seeing it used for this purpose as I sit and write about why Densmore eschews "the greed gene" to make more money.

Perhaps the most moving moment for me was when he spoke of sitting side-by-side with Jim Morrison's father in court as his dad (with whom he famously had an extremely conflicted relationship with until his death)took his side in defending the standards Densmore and his son (as well as the other members) had agreed to so many years ago. The irony of this aged Navy admiral standing up for the beliefs his son held dear along with the drummer of his son's band, against two other members of said band, is lovely as well as deeply sad.

In the wake of Ray Manzarek's recent death, I hope that he and Densmore managed to reunite on the non-legal playing ground and set some things at peace.

This is more than just a rock music book, it's a book about aging, greed, consumerism, conviction, compassion, and the world that we are currently living in. I was moved by it, and respect Mr. Densmore even more then I did before.

[Christopher · Rating 4 out of 5]

Although somewhat self-aggrandizing, Densmore's second book about The Doors is a well-written account of the litigation surrounding his former band's name. Fans looking for history or biography are advised to stick with Densmore's excellent Riders on the Storm; The Doors Unhinged is rather a summation of both the legal proceedings Densmore begrudgingly initiated over Manzarek and Kreiger's use of the name "The Doors" and the likeness of their late frontman and of Densmore's personal beliefs, touching frequently upon his philosophy, spirituality, and charity. Densmore clearly conveys the key points of a largely semantic debate without dwelling needlessly upon hours of deposition, using his own motivations and scruples to contextualize the greater importance of what was at times seen as a bickering matter of personal vendettas. Without any juicy gossip or insider's backstage narrative of their glory days, Densmore's second book will appeal to a smaller crowd than his first; it is, nonetheless, essential reading for those who are interested in the man beyond his drumming and in the meaning of "The Doors" as a brand in addition to a band.

[Rubato88gmail.com · Rating 1 out of 5]

Don't bother. Densmore's bloated, overly self-focused account of the trial of the hippie 1%-ers was awful!! Reading about Densmore's self proclaimed "Robin Hood" philanthropy over and over and over again throughout the book was particularly hypocritical given the sum he is making from trashing his now dead band mate and supposed "brother", Manzerek.

Densmore's autobiography Riders On The Storm is marginally better, but it still reads as if the author is trying too hard. Both books are riddled with other writer's quotes and copious song lyrics, which read like a graduate student's thesis, who is attempting to show how many cool books they have read or how many hip song lyrics they can recite.

I agree with other reviewers that the story of the trial should have been a brief magazine article at the most. The most interesting part of Unhinged was Densmore's account of meeting his idol Elvin Jones. Finally there seemed to be a thread of humility.

[Rock Ism · Rating 2 out of 5]

The central topic of Densmore's book is that of "selling out". Densmore uses the book as his vehicle to argue against selling out - a topic which became important to him in the late 1960s as he witnessed Jim Morrison go bizerk after Manzarek, Densmore and Krieger all sold one of the Doors' songs to Buick for a car commercial without Jim's approval. Morrison was 100% against letting their music be used for advertising purposes and Morrison threatened to jack hammer a Buick on stage if the contract wasn't rescinded - which it eventually was.

This topic of not allowing your artwork to be used for commercial advertisement is a very interesting issue with many nuances on both sides of the argument. Densmore makes the case for his side - against using art for commercial advertisement - without getting too deep into the woods in regard to the other side of the argument. He basically dismisses the other side as being the devil child of the "Greed Gene" and admits that had also once been a victim of the greed gene. This rather simplistic black and white B-movie view of the opposition prevents Densmore's argument from being very strong. There are a lot of angles to the opposition's perspective which he could have tackled, but Densmore basically avoids them and generally falls back on his WWJD (What Would Jim Do) rationale for his behavior. Maybe if Jim actually was still alive then Morrison would have the eloquence and spirit to take on the opposition's many nuanced positions. But Densmore is not Morrison. Denmore keeps it simple - which makes for a mediocre read.

[Alex Bledsoe · Rating 4 out of 5]

This book surprised me. It's an account of the trial when John Densmore sued Ray Manzarek and Robby Krieger over use of the Doors name, and when I say that, I mean it literally: it's a day by day account, like a transcript but fleshed out with Densmore's observations and asides. The thing that startled me the most was how damned readable it was; Densmore has developed into a solid writer, and his passionate belief in his cause really comes through. Is it self-serving? Sure, how could it not be? But it's also, believe it or not, a page-turner.

[Scott · Rating 3 out of 5]

I already knew from reading his first book that John Densmore could be pretentious and self-aggrandizing, and in this one he adds being repetitious to his literary sins. But none of that keeps this from being a fun read. It helps that he does have a sense of humor, and the subject matter (his experiences with the legal system in suing and being sued by his old band mates) is interesting in itself.

Densmore published this himself after having problems finding a publisher, mainly because they wanted him to feature more stories about Jim Morrison. In a way that's a shame - I agree with the author that the book really doesn't need more Morrison stories since that's not the point of the book, but it might have benefited from a professional editor. Nonetheless, it's not bad as is.

[Jim Cherry · Rating 4 out of 5]

The Doors Last Venue...The Courtroom

I grew up in the 60’s to the strains of not “selling out” to the man, corporate America, and it was the musicians of the era that voiced those sentiments. When the 60’s were over, and the Vietnam War was over, and the sit-in’s and love-in’s were history, the baby boomer generation of hippies very quickly metamorphosized/mutated into the yuppies. Some of the same rock stars of the 60‘s that swore they would never sell out now have, or allowed their songs to be used in advertising. So were the 60’s ideals just a fad or real? Are those ideals relevant today? Doors drummer John Densmore tries to answer these questions in The Doors Unhinged: Jim Morrison’s Legacy on Trial as he recounts his experience in suing Doors keyboardist and guitarist Ray Manzarek and Robby Krieger for using The Doors name and logo without permission. A book or manifesto from someone of Densmore’s generation on this issue is long overdue.

The Doors were a group that famously didn’t “sell out.” Jim Morrison didn’t change the lyric’s of Light My Fire for the Ed Sullivan show, and when he heard the rest of the group had sold the rights to Buick to use the same song he threatened to sue the rest of the band if they didn’t kill the deal and he would bring a Buick onstage and destroy it with a sledgehammer (more than a decade before Wendy O. Williams would do it in the Plasmatics) to see if Buick still wanted to use the song. Among fans, The Doors are famous for being a democratic organization, that is all four members of the group were equals and any one could veto a plan or suggestion and it wouldn’t happen. This was their practice and even documented before Jim Morrison left for Paris in the spring of 1971.

Unlike other rock bands of the era, The Doors had avoided the internecine battles and courtroom wars that other bands had gone through until Manzarek and Krieger decided to launch The Doors (in large type) of the 21st Century (in much smaller type) in 2002. The advertising used the logo of The Doors and pictures of Jim Morrison in the marketing of the band. Densmore stated his concerns early to Krieger who never followed through and soon The Doors found themselves in the last venue they would play as a group, in court. Soon Manzarek and Krieger would countersue Densmore for vetoing an ad for Cadillac that wanted to use “Break On Through” as a slogan (an ad that later ran with only the words ‘Break Through’ in it with a Led Zeppelin song instead of The Doors), the sides were drawn, Densmore and the estate of Jim Morrison versus Manzarek and Krieger.

The Doors Unhinged: Jim Morrison’s Legacy on Trial is John Densmore’s telling of the events in and around the trial. It isn’t a question by transcript of the trial in legalese (such as Lenny Bruce got caught up in at the end of his career), but a highly accessible narrative of the highpoints of the trial plus what was going on in Densmore’s head surrounding the trial. At certain points the writing of the trial is riveting. Some of things we learn in The Doors Unhinged is that Stewart Copeland played a key part in Densmore’s case, that when Jim’s father testified that most of his testimony was his resume and status as a retired U.S. Navy Rear Admiral, and he disapproved of those trying to use his son’s image without permission. It seems the Manzarek/Krieger legal team didn’t think it would help their case to try and discredit a man with those credentials. We learn that Jim Morrison had added a clause to their contract with their business manager stipulating that The Doors’ songs couldn’t be used in advertising without the written consent of all four members of the band.

A couple of things that stand out there are some anachronistic errors in the book at one point Manzarek/Krieger’s lawyer asked Densmore about the late Michael Jackson owning and selling to advertising The Beatles catalogue, but Michael Jackson wasn’t dead at the time of the 2003 trial. In the midst of the book is a chapter and half of Densmore’s political philosophy and beliefs (and as much as I agree with them) which seem a bit tedious and add nothing to our understanding of the trial or the issues involved in it. It also seems anachronistic speaking more to our current political situation as opposed to the 2003 political situation

One of Densmore’s stated goals in publishing The Doors Unhinged: Jim Morrison’s Legacy on Trial is that he hopes the last chapter will be a healing letter to his “musical brothers.” Will Ray and Robby read Densmore’s last chapter? I don‘t know. Will it have the effect Densmore says he is looking for? Again, I don’t know, but there are a lot of reasons in The Doors Unhinged: Jim Morrison’s Legacy on Trial to read this book whether you’re a Doors fan or a rock fan in general. It is an intimate look inside a rock band and the dynamics that drive not only a band but individuals. You’re free to judge the members of The Doors based on their words and actions, through the prism of Densmore’s viewpoint. But The Doors Unhinged should also bring up questions in the reader’s mind such as what is the goal and message of an artistic work, is the song in itself the message, or is the message a corporation wants you to hear in one of their advertisements?

Jim Cherry writes The Doors Examiner.

[Paul Lyons · Rating 3 out of 5]

Engaging, confounding, and frustrating...John Densmore's "The Doors Unhinged: Jim Morrison's Legacy Goes on Trial" is all of these things. Mr. Densmore's book is on one level, a polemic on both artistic and personal integrity...a case study of the importance of preserving a legacy. On another level, "The Doors Unhinged: Jim Morrison's Legacy Goes on Trial" is a personal, and self-serving autobiography...allowing the reader to step inside John Densmore's mind...feel his thoughts, hear his arguments, and appreciate his point of view.

On the positive side, Densmore's story is a fascinating look into band politics...especially the politics of a band that ceased to exist over 40 years ago. The reader gets to learn about music publishing and licensing contracts, as well as the dollar amounts involved when it comes to royalties, and offers. Also as a plus, in less than 300 pages, one is able to get from the book a strong sense of who The Doors were (and are now)...as individuals. Drummer John Densmore is the liberal hippie with strong values. Guitarist Robbie Krieger is the quiet musician with his head in the clouds and a passive disposition. Vocalist Jim Morrison is the poetic, self-destructive wild man who led the way with artistry, generosity, and excessive dysfunction...and Ray Manzarek, the keyboardist extraordinaire who loved success and acclaim and money...lots of money.

It's the late Manzarek who comes off the worst in this book. Though not a mean-spirited man, Densmore paints a fairly ugly picture of Ray Manzarek...as a man with poisoned with greed, and who will lie and cheat in order to get the money and acclaim he feels he deserves. Per Densmore, Mazarek's greed clouded his judgement...which caused the Doors' keyboardist to say "yes" to just about any financial offer that cam there way...be it a Japanese cigarette commercial, or a $15 million dollar offer from Cadillac. To Manzarek, The Doors name is his to use at will...along with Jim Morrison's likeness at his shows and all advertising. Densmore's vehement opposition to such practices is the basis of the book's central argument.

...yet too much of "The Doors Unhinged: Jim Morrison's Legacy Goes on Trial" comes off as self-serving propaganda. I don't fault Densmore for wanting to tell his side of the story, it's just that I do fault his excessive manner in defending his point of view. There is an over-abundance of quotations from everyone from George Harrison to Jay-Z. After the 25th quotation from a poem or song, it became a hindrance to the story...and it made the narrator sound weak, too often borrowing from others to hammer home a point when he was not able (or willing) to make the point himself.

Densmore's focus on his court case against his former band members is commendable, yet too often goes off on tangents...such as his strong affection for George Harrison, and how much alike they were, and his love of Elvin Jones. These are very interesting side notes, yet what did they have to do with the story Densmore was trying to tell?


Another issue is the fact that story lacks a proper resolve...it just ends where it ends, leaving the reader unfulfilled, and unsatisfied. Densmore takes great pains to comment and analyze transcripts from the trial...pointing out the faults. Yet after leading the reader on through each stage of the litigation process...Densmore leaves us hanging. He ends the book where he feels the story is done, yet without taking into account that the book's myopic view of the courtroom drama needed a larger perspective. In other words, after all was said and done...who WERE the winners, and who were the losers? Densmore just states the facts...yet doesn't offer any conclusions. After taking the time to read "The Doors Unhinged: Jim Morrison's Legacy Goes on Trial," I expected much more.

[Brooke · Rating 2 out of 5]

My Kindle copy of this book is almost 300 pages long. It could easily have been around 50-75. Let me summarize this book for you so you don't have to read it: Manzarek and Krieger want to go on tour as The Doors. Densmore (along with the Morrison and Coulson estates) says, "No, you may not do this, I shall sue you." There is a jury trial, and the ruling is... Well, I guess I won't spoil it. But if you are a hardcore Doors fan, you may already know the ruling. If not, you can easily google it. Upshot: John, Ray, and Robbie are no longer friends, which is really sad. (The book was written before Manzarek's death, so one would hope that he and Densmore perhaps somewhat patched things up before that happened?)

I loved Densmore's bio "Riders on the Storm." The story was great, and I enjoyed that his writing was genuine, not picked over too much by his editor. (I have issues with celebrities who use ghostwriters. Densmore does not use a ghostwriter.) The Doors Unhinged needs an editor. Oh so badly. Dear John Densmore, whom I respect as a musician and idealist, please let me edit your next book. Or really, let any editor have a crack at it. This book is WAY too long, filled with tangents and rants. Also, a ton of the trial transcripts are reprinted here with sarcastic asides by Densmore, which is BORING. He's also really smug sometimes about his charitableness and environmental activism: "I left the building and got into my Prius." [paraphrase] Oh, John, no.

I would have liked this book more if it had been written in a "Midnight in the Garden of Good and Evil" style, by someone who was objective. Some more Morrison and Coulson family dynamics and backstory would have been great. (The Coulsons are barely mentioned, and I was fascinated by the brief instances we see Morrison's dad.) Chances for Manzarek and Krieger to say their piece. As it's written, it's just a nearly 300-page long diatribe by someone who feels betrayed by his "brothers."

[William · Rating 4 out of 5]

Certainly not as interesting as Riders on the Storm, but somewhat was it fascinating to read about this trial and I found myself honestly standing behind Densmore, especially after Manzarek and Kreiger took the stand. Integrity is important and I am totally against over commercialization especially in music. The Doors as a band and Morrison as their Poet Madman Lead Singer paved the way for the punk movement of the 70's with rebellion against those who wish to conform ones soul. Corporate Suits need not take from the music of such great American rock and roll.

[Wendy Addiscott · Rating 2 out of 5]

While Mr Densmore no doubt covered the trial in the manner in which it happened and upheld the spirit of the Doors agreement, it is very sad that he felt he needed to denigrate the then remaining members to make himself look good.
A comparison to a famous musician which would have better described Robby Krieger than himself all points to someone who knew he wasn't quite as talented as the other three and not as settled in his life as the then remaining two.

[Bill · Rating 5 out of 5]

I was in high school in the 90s when I stole my sisters copy of Morrison Hotel and that's where I fell in love with poetry and proceeded to pick up the first doors album then the spoken word album of Jim's poetry. Densmore is the great protector of Jim's legacy and one of my idols I totally dig his perspective and his philosophies as well as his drum playing.

[Anki · Rating 4 out of 5]

The Doors - the rights to own the songs. Bands fight all the time, but it is sad to read about the fight over the legacy go to court. Not that I would like to hear any of the songs in any commercials, but since they are my idolized heroes from my youth, I would have wished them to stay friends.

[Kevin Schaeffner]

An insiders perspective of what happened with The Doors- very interesting

[kesseljunkie · Rating 1 out of 5]

This book is poorly written and sloppily assembled. It is a long diatribe, and you just spend a bunch of time wading through Densmore's grandstanding. He goes off on tangents and paints every moment as if he is Saint John the Put-Upon to the point where, even though I agreed with his overall message about the specialness of the band's name, I was wishing he would lose. Somehow he makes it into a political tract as well, highlighting that he still thinks the world is the exact same place it was in the 1960s.

As an additional point, he comes off as intractable when compromises were entirely possible. It made me doubly thankful that I got to see "The Doors of the 21st Century" before he spiked the fun. I'm too young to have seen The Doors in person when they were all alive, but am a lifelong fan nonetheless. Contrary to Mr. Densmore's opinion that people like me were too dumb to have known that it was a merely facsimile of the reality of the band, the public knew full well what it was getting. It's just that Densmore and Manzarek were waging a private little war via their shared property.

For the record, it remains one of the best shows I've ever seen.

Ultimately, Densmore defeats his own purpose and comes across as just as much an ass as he works to portray Manzarek. I'm glad they reconciled afterward, but here's an eternal totem to an overblown fight between two men out of their own time.

[Kevin LaBrie · Rating 3 out of 5]

Mr. Densmore is a good writer and yes, I am a Doors fan. Like any book in the first person John ends up puffing himself up some and tearing down the man who called him the stupid drummer in his book, Ray Manzarek. I probably would too. I do however have some issues with the premise. John keeps saying he is trying to live up to Jim’s legacy, trying to do what Jim would but the bottom line really is no one knows what Jim Morrison would be like today. We all want to paint this picture of an aging hippie activist but we do not know that for sure. I would have been happy is John just said (and he did) that this was HIS fight and leave it at that. Also, in chapter 15, Red Bull, John has a serious issue with his old band mates using an image of Jim at their concerts (an issue I would agree with) but who is on the cover of his book? Jim Morrison. Yes the whole band is there but Jim is highlighted by a key hole. So the first look at the cover and you think this is 1) a book about the doors, which it really isn’t and 2) about Jim which it certainly isn’t. I get the metaphor on the cover, I do (Jim being the key to the Doors) but isn’t he kind of doing the Sam thing his band mates are to sell books? Look, I get it. You really can not have a conversation about the Doors without Jim, he was in my opinion the band. At the end of the day I simply wondered to myself why I was reading it. This is no knock on the book, just a personal inflection, one I may get the answer to some day.

[Marcello · Rating 3 out of 5]

Densmore racconta della causa che, assieme agli eredi Morrison e Courson, ha intentato (e infine vinto) contro gli altri ex-Doors per vietare loro l'utilizzo del nome nei recenti concerti ... John vuole far capire i nobili intenti che l'hanno mosso a fare la guerra ai suoi "ex fratelli", in nome di Jim, ma finisce per ripetere le stesse cose per tutta la lunghezza del libro. Per fortuna, essendo una persona intelligente e acuta, completa la storia con racconti interessanti e numerose citazioni, e tutto sommato la lettura di questa sua nuova opera consente di farsi un'idea più precisa del fenomeno Doors e degli interessi che vi stanno intorno. Però nulla a che vedere con l'altro suo libro, "Riders on the storm".

[Audrey Swanson · Rating 5 out of 5]

John Densmore is as good a writer as he is a drummer! This story about fighting for what’s right and not taking the easy way of greed. It’s honorable and something I wish we’d see more of in this day and age! I commend John on standing up against his former band members and friends in order to uphold what they always stood for, what Jim Morrison stood for and wanted! That could not have been easy. I hope one day the remaining members of the band find a way to move past this and heal. Life is too short to hold grudges. I highly recommend this book to any music lover and hippie at heart!

[James O'Brien · Rating 2 out of 5]

A ridiculously padded read at 260 pages. Could have been an article-length piece. As a bit of recent history about the remaining members of The Doors, you'll find about 6,000–8,000 relevant words. The blow-by-blow descriptions of the civil suit are eminently skim-able.

[Julia · Rating 5 out of 5]

Really interesting perspective on what happens when we turn artists into millionaires. I love Densmore’s honesty, humility, and sincerity. This book made me appreciate him so much more as a man of integrity, and has given me reason to be more critical of the way that I experience and consume art.

[Simon Sweetman · Rating 2 out of 5]

Shit, you wouldn't want to have a conversation with this boring wanker

[Jim Razinha · Rating 4 out of 5]

I received a review copy of this from the publisher through LibraryThing not knowing that it was previously self-published to a small audience ten (I think) years ago. Partway in, I decided I had better read Mr. Densmore’s first memoir, Riders on the Storm before continuing. As he says in here, you’ll find more about The Doors in other books. This is about him suing to prevent the use of the band name and logo.

As I learned in Riders, he’s a pretty good writer. And this is largely a courtroom drama of his suit, and to a small extent, of the countersuit by Manzarek and Krieger. And though I knew the outcome, like watching the movie Secretariat where I also knew the outcome, it is still engaging to see into the workings of the trial (it’s not television, where things are resolved by the end of the show - this took months, followed by a five year appeal.)

Densmore does come off a bit self righteous (“But how much does it really mean? Without the huge money and venues, Ray can still get his retail therapy by shopping and Robby can still eat an expensive meal at Spago.” More than a bit of that sniping, but then, Manzarek said some unkind, and probably untruthful things about Densmore in his book and on the stand and it stung.) But he’s also funny…

“Now wait a minute here. What about the conversation we were just having about Buick? I was quickly learning that when a lawyer doesn't like an answer, he or she just ignores it and moves on. I moved on too. I had no other choice.”

So, even if you know the story, it’s a good read because you probably don’t know this version of the story.

Snippets:

[cross examination]
"Did you think you were being critical of Mr. Manzarek when you referred to him as 'the hand of greed' and other characterizations like that?"
Now I was getting pissed off. "I did not refer to Ray Manzarek as 'the hand of greed," I said. "I referred to myself as 'the hand of greed' because my hand was shaking when I wrote my 10 percent tithing checks to charity." He should have read my article more thoroughly if he intended to trap me with it.
{Densmore peppers his narrative with comments like this. I found them fun, as was this exchange of the clueless defending lawyer and Densmore on the stand:}

[a laughable embarrassment on the part of the Manzarek/Krieger attorney]
"Do you think that Steve Nicks thinks of his music as a jingle?"
"That's a woman, Stevie Nicks," I say, as the entire courtroom lets out another big laugh. "Fleetwood Mac. Woman singer." This guy should have taken a crash course in rock history before he stood up in court and tried to cross-examine me about my world.

[on losing dignity]
Jerry [Densmore’s attorney] asks [Nigel] Williamson to explain the following excerpt from my article:
All of these years on, Morrison remains implacable. And so the current incarnation is nothing more than a Doors tribute band-which just happens to include two of the original band members playing tribute to their own long-lost youth.
{That’s what I thought of the last AC/DC album, though they still had everyone. Or The Who.”}

[more from Nigel Williamson]
Lukacs [another M/K attorney] says, "My question, sir, is why are you more qualified to talk about the use of The Doors's name than someone who has reviewed the underlying evidence?"
"I have followed The Doors's career for thirty-five-plus years," says Nigel. "And I work as a professional music journalist interviewing musicians and writing about bands who have disbanded and got back together. It isn't me that regards myself as an expert. It's the people who employ me. I get asked again and again by national newspapers and magazines to write on these subjects."

[a mistake on the part of Densmore]
After attending the Naval Academy in Florida, he became a commissioner in the navy.
{With all the detail Densmore has here, this is a big gaffe. RADM Morrison had flight training in Florida (the Naval Academy is in Maryland), and was commissioned as an officer, not “commissioner”, there.}

[it’s a Republican thing]
We all know that owing money is not a good thing. And yet, both Ronald Reagan and George W. Bush, in the not-so-distant past, cut taxes for the rich while running up huge deficits. The truth is that, until just recently, we Americans believed that we were numero uno, omnipotent and all-powerful, but in my opinion, we are in denial, convinced that we are immune from repercussions. After all, we have "our" God on our side. So much so that He is stamped indelibly on our legal tender: In (our) God We Trust.
And yet, there's nothing like an economic collapse to make you question your religion, which for some is the Almighty $$$.

[and this truth; with lawyers not understanding why there are so many jokes about their profession]
I guess Ray's attorneys believe that when you have no case, you character-assassinate, build a conspiracy theory.
{TFG anyone?}

[Diana · Rating 5 out of 5]

The Doors Unhinged: Jim Morrison’s Legacy Goes on Trial is written by John Densmore.
Celebrated author and legendary Doors’ drummer John Densmore “offers a powerful exploration of the ‘Greed Gene’ - that part of the human psyche that propels us toward the accumulation of more and more wealth, even at the expense of our principles, friendships and the well-being of
society.”
“The Doors Unhinged is a very ‘gripping account of the legal battle to control the Doors’ artistic destiny. In it, Densmore looks at the conflict between his bandmates and him as they fought over the right to use the Doors’ name, revealing the ways in which this struggle mirrored and reflected a much larger societal issue: that no amount of money seems to be enough for even the wealthiest people.” (Press Release)
In his book, John Densmore gives us more than a dramatic, gripping trial scene, he gives us a “blueprint for an approach to life and culture that is not given to greed.”

I must admit that I am of a ‘certain age’, a ‘certain generation’ that revered the poetry, the artistry, the music of the Doors and other musicians and artists of the time - the 60s, the call to arms, to consciousness, questioning the status quo.

It was a perfect read and I would irrevocably recommend this book. 5 Stars + on every level.
*****
There is fascinating, interesting reading about the court case.
There is much philosophizing over charitable giving, crass consumerism, environmentalism and ‘crooked’ politicians. It is very well-written in a personal, self-deprecating, narrative style.
It is reflective, moralistic, and inspiring.

The Doors Unhinged is a very intense book, well-organized with a Preface, an Introduction, 3 Parts (Part I - The Setup. Part II - Trial and Tribulation. Part III - Waiting is the Hardest Part) consisting of 26 chapters, an Afterword, Acknowledgements and Permissions. All of these ‘parts’ are interspersed with photographs, poetry and song lyrics and accolades to other musicians.

I urge everyone to read this book, but if one must choose just one part or chapter to read, I would choose Chapter 26 - The Greed Gene. In it, Mr. Densmore writes to two lost brothers, Ray and Robby, and to the memory of their lost relationships.
I received this ARC (Advance Reading Copy) of The Doors Unhinged from the publisher,
Akashic Books.

[J Earl · Rating 4 out of 5]

The Doors Unhinged by John Densmore is an interesting account of his legal battle with the other remaining members of The Doors (at the time) over the use of the name. That said, it went slightly off-track periodically when he would go on a bit too much about why he was waging the fight.

You'll see reviews that call him what the reviewer actually is, something about "whiny." What I think gets lost is that Densmore acknowledges that he had made a couple of missteps with regard to honoring what Jim Morrison wanted for the music. Would Morrison have changed his mind if he was still alive? Maybe, but it doesn't matter. The only definitive thing we have to go on is what he stated, repeatedly, while alive. To make it sound like anyone has the power to change his wishes because "maybe, perhaps, he would have changed his mind" is simply upset they either missed a show or they don't care about ethically abiding by an agreement they all made. All it takes is one veto.

As for using the name of the band in the name of the new band, that is misleading. Again, some reviewer falsely claimed Densmore called everyone who attended the shows too stupid to know what they were getting. They could have still capitalized on the Doors name by doing as Densmore suggested, billing themselves as two former members of the band. Insisting on implementing Doors into their band name was misleading, and intentionally so, or they would have used the alternative.

The writing is uneven but the story says a lot about how people will readily decide to renege on their word if it means more money. As great a keyboardist as Manzarek was, the band would not have been the smash they were without Morrison's words and his persona. Abiding by the word you gave to Morrison doesn't seem like too much to ask. If you believed you would be successful without Morrison you could have not agreed to the terms and stopped working with him, and been any one of the many wonderfully talented session musicians. Manzarek knew what would take good music into the area of iconic music, and it was Morrison. Don't break your word, especially to the one who allowed you to have a comfortable lifestyle well beyond your talent would have afforded otherwise.

Reviewed from a copy made available by the publisher via LibraryThing.

[E.R. Burgess · Rating 4 out of 5]

The Doors: Unhinged by John Densmore is not your typical rock 'n' roll memoir—it's a courtroom drama. The book details the legal battle between the surviving members of The Doors over how to use the band’s name and imagery. That might sound kind of boring, but Densmore turns it into a riveting narrative that remains engaging throughout.

Densmore, the band's drummer, finds himself at odds with former bandmates Ray Manzarek and Robby Krieger, who hit the road using a slight variation of The Doors' name, complete with a giant Jim Morrison banner looming over them on stage and a couple of famous stand-ins (Ian Astbury of The Cult and Stewart Copeland of The Police. Densmore was fine with them touring but asked that they be clear that this was not the original band, since they’d always been firm about all band decisions needing to be unanimous.

Through the ups and downs of the legal battle, Densmore uses the courtroom to tell stories about the band's history, their challenges, and his personal quest to honor Morrison's memory. The book is peppered with anecdotes that not only entertain but also give us a backstage pass into the commercial side of the band’s history, including problematic flirtations with licensing the band’s music.

One of the book's strengths is its ability to connect this specific legal skirmish to broader themes of artistic integrity versus commercialism. Densmore’s reflections are thoughtful and often laced with a wry humor that reminds us that even rock legends have to deal with mundane things like lawsuits and driving in traffic to sit on uncomfortable benches under the watchful eye of a judge. It's clear that he's not just a musician but a guardian of the band's history and rather an eloquent commentator on the cultural and ethical dilemmas that artists face today.

The Doors: Unhinged is a surprisingly interesting read, but it helps to love the music that this classic band produced. Even if you’re not a huge fan, the book offers insightful commentary on the music industry, the enduring impact of The Doors, and the ethical quandaries artists navigate in their effort to preserving their artistic integrity in a commercial world.

Acknowledgement: Thank you to Netgalley and the publisher for access to a review copy in exchange for my independent review.

[Eadie Burke · Rating 5 out of 5]

This book was so good. The Doors are one of my favorite bands and when Jim Morrison was found dead in Paris I was shocked and horrified that he had died. The book is written by John Densmore who was their drummer. He recalled that when they were asked to sell their music for commercial use, Jim Morrison said “No Way”. They were not going to do that. It was so important that the four of them decided that they would each get a vote and if one of them disagreed then they would not do it. Jim Morrison was the one who wrote the poetry for their songs and the other band members set that poetry to music. But when Morrison died that was over as there would be no more poetry to set to music. Morrison’s poetry was so special and that is what made their band so great. Morrison was not a musician and that’s how they worked as he wrote the words and the other band members set the lyrics. It was a great collaboration of talents that worked for the band and each person helped to made it work. That is why they each had a say in what they did. Two members of the band, Ray Manzarek and Robby Krieger, decided years later to get two more members and do concerts again. John Densmore told them if they did that they could not use the name The Doors as people would expect Jim Morrison to be in the band. They said that they would use the name The Doors of the 21st century. But when they started the concerts the fonts of The Doors of the 21st century were the problem was that “The Doors” was done in large font and “of the 21st century” was smaller font. John Densmore reminded them of Jim Morrison’s agreement that if one band member said “No” then they would not do it. They just ignored him and so John Densmore took them to court and sued them. This is what most of the book is about - the lawsuit. There is a lot more to the book and I would have to say that the book is well worth the read. If you love the bands, then you would love this book.

[Christina · Rating 3 out of 5]

*3.5 stars* This book takes an interesting look at The Doors from the drummer's perspective, John Densmore, in the context of the legal aftermath of Jim Morrison’s death in recent times. While I have not read or come across many books on the subject (not to say they don’t exist), this perspective of legality and the author’s desire to abide by the late Morrison’s wishes about not allowing the usage of their songs for cheap commercialism is one I have not come across.

There is a bit of aired-out dirty laundry and squabbling between the remaining members in court from the lawsuit he recounts against his former band members over a decade ago, and it might come off as a little self-serving of the author. As if he wants the validation that comes from putting his side out there in the world via this book. But I think he is in a unique position to do so, being the only drummer of The Doors. It gets a little tedious toward the end and it’s hard to hear the animosity as a longtime Doors fan, but I still think it is an interesting look at what it means to be an artist and trying to make a living vs “selling out”. Certainly, the remaining Doors members needn’t worry about making a living compared to up and coming musicians who might sell their songs for commercials.

A high point for me was the various nostalgic anecdotes of interactions between Densmore and other rock and roll stars of the era such as Tom Petty, Bob Dylan, George Harrison, and the like. All in all, this is a good book for fans of The Doors and classic rock looking for a deeper-cut type of book, but note this is not a book about The Doors and how they came to be. Densmore narrates the audiobook which is a nice personal touch.

Thank you to NetGalley, Tantor Audio, and John Densmore for a digital copy of this audiobook! All opinions are my own.

[Under Milkwood · Rating 3 out of 5]

I had conflicting feelings about this one. On the positive side, former Doors member, John Densmore was (and probably still is) an impressive drummer with equally impressive writing skills. Despite the fact that this newly released book was actually written some years ago it still holds up for its humanistic values in relation to the so-called capitalistic problems (including poverty) that exist in the world today. For better or for worse, Densmore also airs a barrage of political and environmental opinions along the way. In a few cases, some of these come across as page fillers.
But the raison d'être is of course the Court Trial that took place not long after 9-11 when Densmore's former bandmates, Ray Manzarek and Robby Krieger, counter sued him for loss of earnings, after Densmore had taken them to court for using the Doors name for their touring band. The whole complicated affair rose from a mid-sixties band pact instigated by Jim Morrison, strangely akin to the Four Musketeers.
I found myself wondering how the description of this Trial could possibly go on for 350 pages and how John Densmore could manage to hold Jim Morrison's legacy in such high esteem, given the late frontman's short and turbulent life.
But despite the frustrating barristers and the constant repetition of events this remains a curiously beguiling read. After all the Doors were a tour de force on the music scene, particularly in the late sixties and they had a big impact on me as a high school student at the time. In the light of Densmore's basic objections I feel a 'slight sense of guilt' about my band performing a riveting fifteen minute version of 'Five to One' at a Wattle Park High School Dance in the spring of 1969. At least we got out alive!