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The Seekers: Meetings With Remarkable Musicians
The iconic drummer of The Doors investigates his own relationship with creativity and explores the meaning of artistry with other artists and performers in this compelling and spellbinding memoir.
Whether it's the curiosity that blossoms after we listen to our favorite band's newest record, or the sheer admiration we feel after watching a knockout performance, many of us have experienced art so pure-so innovative-that we can't help but wonder "How did they do that?" And yet, few of us are in a position to be able to ask those memorable legends where their inspiration comes from and how they translated it into something fresh and new. Fortunately for us, this book is here to offer us a bridge.
In The Seekers , John Densmore—the iconic drummer of The Doors and author of the New York Times bestseller Riders on the Storm— digs deep into his own process and draws upon his privileged access to his fellow artists and performers in order to explore the origins of creativity itself. Weaving together anecdotes from the author's personal notebooks and experiences over the past fifty years, this book takes readers on a rich, thought-provoking journey into the soul of the artist. By understanding creativity's roots, Densmore ultimately introduces us to the realm of everyday inspirations that imbue our lives with meaning.
Inspired by the classic spiritual memoir Meetings with Remarkable Men , this book is fueled by Densmore's abundant collection of transformative experiences—both personal and professional—with everyone from Ravi Shankar to Patti Smith, Jim Morrison to Janis Joplin, Bob Marley to Gustavo Dudamel, Lou Reed to Van Morrison, Jerry Lee Lewis to his own dear, late Doors bandmate Ray Manzarek. Ultimately, the result is not only a look into the hearts and minds of some of the most important artists of the past century—but a way for readers to identify and ignite their own creative spark, and light their own fire.
Whether it's the curiosity that blossoms after we listen to our favorite band's newest record, or the sheer admiration we feel after watching a knockout performance, many of us have experienced art so pure-so innovative-that we can't help but wonder "How did they do that?" And yet, few of us are in a position to be able to ask those memorable legends where their inspiration comes from and how they translated it into something fresh and new. Fortunately for us, this book is here to offer us a bridge.
In The Seekers , John Densmore—the iconic drummer of The Doors and author of the New York Times bestseller Riders on the Storm— digs deep into his own process and draws upon his privileged access to his fellow artists and performers in order to explore the origins of creativity itself. Weaving together anecdotes from the author's personal notebooks and experiences over the past fifty years, this book takes readers on a rich, thought-provoking journey into the soul of the artist. By understanding creativity's roots, Densmore ultimately introduces us to the realm of everyday inspirations that imbue our lives with meaning.
Inspired by the classic spiritual memoir Meetings with Remarkable Men , this book is fueled by Densmore's abundant collection of transformative experiences—both personal and professional—with everyone from Ravi Shankar to Patti Smith, Jim Morrison to Janis Joplin, Bob Marley to Gustavo Dudamel, Lou Reed to Van Morrison, Jerry Lee Lewis to his own dear, late Doors bandmate Ray Manzarek. Ultimately, the result is not only a look into the hearts and minds of some of the most important artists of the past century—but a way for readers to identify and ignite their own creative spark, and light their own fire.
240 pages, Paperback
Published November 16, 2021
24 people are currently reading
170 people want to read
About the author
John Densmore
12 books71 followersJohn 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.
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.
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Displaying 1 - 24 of 24 reviews
November 29, 2020
I'm not a huge Doors fan, but recently enjoyed a biography touching upon the early days of Jim Morrison, then naturally navigated over to this one. This offering is from The Doors' drummer John Densmore who has authored other books- including about The Doors. It focuses on the musical and spiritual mentors of John Densmore. Two of his deceased bandmates, singer Jim Morrison and keyboardist Ray Manzarek, each are graced with a chapter recounting their influences on Densmore. Some other inspirations are Bob Dylan, Willie Nelson, Bob Marley, Ravi Shankar, Patti Smith, Janis Joplin and Van Morrison.
The Doors got their name from an Aldous Huxley book called "The Doors of Perception". John is a "seeker" and is always exploring spiritually and musically. He delved deeply into each of his explorations of these mentors, to a point where he was on another mental/spiritual plane...and left me behind. I wasn't that heavily into... or didn't even know some of the people he admired, and so there was a built-in disconnect. I skimmed through some of it. There was also the usual one way political hostility through the decades that has become so predictable from the majority of the entertainment industry. I usually enjoy reading rock biographies, but this just wasn't my cup of tea.
Thank you to the publisher Hachette Books who provided an advance reader copy via NetGalley.
The Doors got their name from an Aldous Huxley book called "The Doors of Perception". John is a "seeker" and is always exploring spiritually and musically. He delved deeply into each of his explorations of these mentors, to a point where he was on another mental/spiritual plane...and left me behind. I wasn't that heavily into... or didn't even know some of the people he admired, and so there was a built-in disconnect. I skimmed through some of it. There was also the usual one way political hostility through the decades that has become so predictable from the majority of the entertainment industry. I usually enjoy reading rock biographies, but this just wasn't my cup of tea.
Thank you to the publisher Hachette Books who provided an advance reader copy via NetGalley.
April 25, 2025
John Densmore may not be a name many are familiar with today, but you've heard his drumming keeping the beat along with his band mates Ray Manzarek, Robbie Kreiger, and Jim Morrison, together known as the Doors. As Densmore reminds us, the band took its name not from those everyday portals between rooms, but from Huxley's infamous book The Doors of Perception. Here, Densmore talks about how making music is losing yourself in time and, at its best, shamanistic.
In 24 short breezy chapters, he discusses artists (mainly musicians, but also others) who have crossed the mystical boundaries and break on through to the other side. It's not necessarily chronological although it begins biographically with chapters about his mother, his high school band leader, a college professor who moonlighted as a jazz musician, and of course, Densmore's greatest Elvin Jones, Coltrane's drummer. There is certainly a chapter about Jim Morrison. Nevertheless, a reader could open up any chapter at random and enjoy.
At times sounding more like a fan than a rockstar, Densmore recounts his meetings with musicians Lou Reed, Van Morrison, Janis Joplin, Ray Manzarek, Bob Marley, Jerry Lee Lewis, Patti Smith, Willie Nelson, and Ravi Shankar. Other chapters are about thinkers such as Robert Bly, Joseph Campbell, and of course the Dalai Lama himself.
The writing is easy to dive into, personal, heartfelt, and sincere.
Many thanks to the publisher for providing a copy for review.
In 24 short breezy chapters, he discusses artists (mainly musicians, but also others) who have crossed the mystical boundaries and break on through to the other side. It's not necessarily chronological although it begins biographically with chapters about his mother, his high school band leader, a college professor who moonlighted as a jazz musician, and of course, Densmore's greatest Elvin Jones, Coltrane's drummer. There is certainly a chapter about Jim Morrison. Nevertheless, a reader could open up any chapter at random and enjoy.
At times sounding more like a fan than a rockstar, Densmore recounts his meetings with musicians Lou Reed, Van Morrison, Janis Joplin, Ray Manzarek, Bob Marley, Jerry Lee Lewis, Patti Smith, Willie Nelson, and Ravi Shankar. Other chapters are about thinkers such as Robert Bly, Joseph Campbell, and of course the Dalai Lama himself.
The writing is easy to dive into, personal, heartfelt, and sincere.
Many thanks to the publisher for providing a copy for review.
October 22, 2021
“John Densmore had the heart of a seeker. Always aiming, not for the sparrow, but for the eye of the sparrow in his search for meaning. His compass took him straight to the core of the moment and of the people he was drawn to by his uncanny ability to divine divine wisdom throughout his fairly frenzied life. It is reaffirming and gratifying to those of us who shared some of the same friends to revisit those unique and original souls.” The book talks about different musicians John has met over the years.
February 15, 2021
Densmore is a frustratingly bad writer - but he's had some experiences, met some people, done some things. And there's a joy he brings in celebrating all of that. So this is a fumble of a read but enjoyable nonetheless. Light on insight but high - and giddy - on the joy of celebration.
July 1, 2021
I am a big Doors fan, and have read Densmore's other books. I very much respect his efforts to refuse using The Doors music and name for commercial gain, a hard decision to make, I am sure (he had to go to court to stop his remaining band-mates from doing so). I enjoyed "The Seekers", but I think that I was expecting more from the book. I knew all the people he was writing about (mostly musicians, but some not so), so that was not the issue. It is rather a quick read and I wish that some of the chapters were longer and went into more depth as to how and why this individual inspired Densmore, and why he chose them for the book. It is kind of a "lite" book on inner creativity and thoughts. I do recommended getting a copy and reading it, it is interesting and insightful at times, especially if you know the people of whom is writing. Just do not expect a "deep" book that you will be thinking about for days...
July 24, 2021
Since artists and musicians are the de facto priests of the secular world, it makes sense that aging rockers who've ascended into the firmament get to play the role of wizened sages. John Densmore made his bones playing drums for The Doors, but as he enters his golden years, he's turned his attention towards matters of the spirit. The Seekers is a collection of vignettes about artists, writers and mystics who, from his vantage point, possess unique insight, vision and knowledge of the ultimate source of the creative process: the spiritual world. Not that this thesis is some radical departure from the essential message of Jim Morrison or The Doors, but The Seekers spells out his own personal perspective seen through the lens of his subjects. The book is modeled after Gurdjieff's Meetings with Remarkable Men. I don't know the book from which Densmore drew inspiration, but many of these vignettes are his disparate recollections and impressions rather than any specific meeting. Densmore is reaching for a comparable level of gravitas by painting his subjects as contemporary gnostics, mystics and prophets. Since my father gave me this book, I felt compelled to read it and write a review.
This de facto coronation is worth noting from the outset especially since Densmore is speaking primarily to a secular and I contend predominantly atheist audience. Though he describes himself as a believer in "the Mystery", he has no compunction ascribing sanctity and religiosity to his subjects and the transcendent nature of their artistic expressions. He has no problem talking about accessing the "void" as though it's an unassailable good and in spite the fact that it resulted in the premature death of his bandmate. "Rock n roll is sacred" according to Densmore.
Apparently, it's totally fine to pronounce Lou Reed's "Heroin" or "I'm Waiting for the Man" as something sacred simply because he wrote about "gritty" subjects. It's fine to pronounce Jim Morrison a "shaman" despite having no connection whatsoever to any native cultural tradition nor submitting himself to an apprenticeship under an actual elder practitioner. It's fine to just blindly assert that we're "better" for Janis Joplin's canonization as an "icon" while simultaneously lamenting that unnamed "psychic wounds" prevented her from realizing the depth and importance of her impact. It's fine to exalt an incestuous pederast like Jerry Lee Lewis because.....he was a great showman or something. This Boomer generation "spirituality" buffet is essentially what Densmore is selling. Hey man, let's just pick and choose what "spiritual" slogans, buzzwords and mystical ideas make us remember that time we ate peyote out in the desert and then call ourselves Enlightened! Like Jesus is the lead singer, Buddha is on drums and Allah is the lead guitarist, man! It's naïve, yet par for the course for many in his generation.
The question of course is where does Densmore's journey to Enlightenment ultimately lead and is it a path worth following? Is what he professes true? How do you know whether Joseph Campbell's quasi-religious prattle is actually deep wisdom? Why should we listen to Robert Bly's grand narrative about manhood? I enjoy the music and artistry these artists produced as much as anyone, but let's look at the track record. He showers Morrison with all of this praise for his ability to access the "void" and "raise consciousness", but why did this mystical gift leave him dead at 27? What was it like to live with this "shaman" when he was deep in the throes of his addiction, John? How about Lou Reed? Janis Joplin? Why is Jerry Lee Lewis' marriage to his 13-year old cousin written off as a "bad PR move" whereas even the slightest hint of anyone on the "conservative" end of the political spectrum who runs afoul of the #MeToo zeitgeist touches off a firestorm fake indignation? Densmore's selectively politicized outrage and willingness to sugarcoat and downplay the pain these people inflicted on themselves and those around them reeks of willful dishonesty. I'll give Morrison or anyone else his due for making the most of his abilities, but taking psychedelics and reading Carlos Castaneda doesn't turn you into Don Juan. Nor does it mean you've illuminated a spiritual path in a cohesive system of faith that should be followed. Essentially, it is fallacious to make a direct equivalency between artistic prowess and spiritual maturity. Most importantly, even if you subscribe to the worldview Densmore is promoting, there is no mechanism for discerning the tipping point when journeys into the "void" become destructive to you or those around you.
Densmore audaciously claims that substance abuse and deep artistry don't have to go hand in hand, but is he really trying to tell us that the message of The Doors and rock culture in general was one of pietistic restraint? Did Freddy Mercury get the memo? Brian Wilson? Amy Winehouse? Kurt Cobain? Elton John? Bon Scott? Sid Vicious? Layne Staley? Prince? Scott Weiland? Whitney Houston? Is he really trying to tell us that people listen to "Roadhouse Blues" in a state of deep and sober contemplation? Does he really think that "The End" is going to be helpful to someone in the throes of suicidal thoughts or substance abuse? This entire line of thinking also smacks of willful obliviousness and special pleading.
Densmore openly admits his metaphysics are a patchwork, but that doesn't stop him from making broad claims about our spiritual nature. On page 148, he asserts that "we are sound". Okaaaay. What kind of sound, John? Is a harmonious fugue by Bach or is it the noisy cacophony of Merzbow? Is it the sound of a gentle summer rain or is the sound of someone ripping a huge fart? There are lots of different kinds of sounds. Some are appealing and some are downright horrific. Be more specific, bro. It wasn't qualified or expounded upon. It sounds great as a slogan, but how does he know? And what are you supposed to do with this information in terms of spiritual development? A few pages later on 152, he asserts we all have an "internal symphony" playing. First it's just "sound", then we have an "internal symphony" playing. Isn't there a distinction to be made between random "sound" and the ordered realm of music? I realize that the avant gardists don't think that distinction exists anymore and it's a distinction Densmore repeatedly blurs, but I'll bet my last dollar the majority of the world does. I believe that music affects us in profound ways, but that doesn't mean that our spiritual nature IS sound, John.
He goes on to assert that the "dance between performer and listener is a covenant of love" and that music is a "direct vehicle to love". Really, John? Did the Sex Pistols hold that same confession of faith? How about GG Allin? Marilyn Manson? How about Watain or Behemoth? Musicians use music to convey a wide variety of sentiments and I'm not sure you can automatically assert that it's a "covenant of love" that binds him to his audience or that a song like "Angel of Death" by Slayer is a "vehicle to love".
However, for the record, I am also somewhat sympa-thetic to the general sentiment Densmore is expressing throughout the book. I understand how he could see secular music as a vehicle for spiritual transcendence and a way to attain a deeper level of consciousness and awareness. It's not a unique view by any means, and all of his contemporaries profess a similar messianic mission in their own music. So I get it. I also think it's true that music provides a gateway to the spiritual realm. I felt it when I was growing up listening to The Doors. Hedonistic and materialistic dreams notwithstanding, I intuitively grasped my there was something Important, Edifying and Meaningful about being a musician. It was The Secret Journey. It demanded a lifetime of dedication and discipline. It demanded excellence and purpose. It was the secular version, and ultimately an inversion, of the life of asceticism a monk would pursue in a monastery. If anything, it is rock solid confirmation that the human soul craves meaning and purpose. To unite with the infinite.
In terms of Densmore's prose and storytelling abilities, it's analogous to his drumming. It's adequate and approachable, but he's punching above his weight. Despite his rather weak attempts at humility and self-effacement, Densmore is understandably cashing in on the legacy of The Doors and his access to his renowned subjects. In some cases, he's just venting the petty grievances he's held over the years while simultaneously trying to explain why their art is transcendent. As a writer and someone who is by default claiming a mantle of expertise in art and matters of spirituality, the same criticism I have about him as a player is applicable in both cases. Densmore is an average player whose overall approach was effective in the context of The Doors and had little else to offer as his post-Doors career attests. Think I'm being unfair? Compare Densmore to someone like Steve Smith after Journey or Terry Bozzio after Zappa and Missing Persons. Hell, compare him to his own standard bearer, Elvin Jones. Elvin's tenure with Coltrane made him a legend, but he remained active up until the very end. How many drummers consider Densmore as someone who continues to push the envelope on the instrument? In terms of his spiritual quest and credentials, you're probably already aligned with him if you're reading the book so he's preaching to the choir. What he's saying requires no commitment or sacrifice either. It's the ultimate psychological sedative. Hey, you like the music these people made? Congratulations, you're "spiritual".
Of course, Densmore is yet another aging Boomer leftist who still thinks that his worldview is edgy and subversive. He slides in all his tiresome talking points about the big, bad "conservatives" in AmeriKKKa who are afraid of the gays and can't tolerate the devil's rock music. He talks about the Velvet Revolution as though it was some organic phenomenon and that it wasn't engineered by the very same people who catapulted his band into the limelight. He would rather talk about Jackson Browne and Neil Young's lawsuits against John McCain and Donald Trump than talk about Obama's invasion of Libya or Joe Biden's support for the Iraq War. He laments the injustice of war, yet he openly champions the Orwellian idea of a "Minister of Peace" as though someone who holds that office would actually achieve it. He dutifully refers to a black woman as "African American" while referring to himself as a "honky" with the requisite self-loathing and posture of would-be self-deprecation. He affects this fake piety which prohibits him from saying the word "faggot" despite the fact that Morrison is lionized for famously disregarding the censorious prudes on the Ed Sullivan show. He talks about "racism" as though that is the sole moral blight on the public consciousness. As though the white man listening to salsa is going to make him ignore the problems of drug and human trafficking that accompany illegal immigration. He gets his panties in a twist over Morrison's arrest at the infamous Miami concert by disputing whether or not it even happened and predictably asserting it was a "right wing" plot. "Right wing" conspiracies are real, but they don't exist on the left, do they, John? Why split hairs over whether it happened, John? Be a "liberal" and champion his "right" to expose himself, John. Isn't that kind of "shamanic" edginess exactly what was needed to help people access the "void"?
Like all of his ideological contemporaries, his entire worldview is little more than a collection of selective outrage, recycled buzzwords, empty slogans, childish delusions and shallow rhetoric. When plutocrats, corporations, Silicon Valley, Hollywood and the entire global establishment are all openly parroting the same talking points and are using people like John Densmore to push them, it's time to recognize there's nothing subversive, edgy, contrarian, or provocative about anything he's saying. It is literally the status quo. He is unironically pushing Bill and Ted level "music can save the world man!" level pablum without even a hint of self-awareness of how completely naïve and vacuous this notion is.
Densmore is also trying to cast the Boomer generation rock legacy as True Art. He praises Patti Smith because she railed against the "hypocrisy" of rock's ascendancy to commercial and corporate heights. Please. This futile quest for Artistic Integrity in rock and pop is a mirage. It is a commercial endeavor by definition. It is not designed to sustain a hierarchy of objective aesthetic values. Densmore and others can extol the artistic integrity (i.e. sanctity in his formulation) of Patti Smith and Lou Reed as much as they want, but at the end of the day, Joe Biden's favorite interviewer, Cardi B, is just as much a heiress to the legacy of The Doors as Mazzy Star or PJ Harvey. The entire rock and roll project was from its inception a giant experiment in social engineering.
To his credit, he tries to go highbrow by including the likes of Elvin Jones, Emil Richards, Airto Moreira, Ravi Shankar and Gustavo Dudamel, but jazz, classical and world music are mostly publicly funded, state sponsored charity projects nowadays. In an era of full spectrum domination of corporate backed popular music, people just don't give a shit about High vs. Low Art discussions. Subjective aesthetics means subjective standards. The hardcore Katy Perry fan is not likely to discover John Coltrane nor care one bit that she is missing out. People like what they like and ignore what they don't like. While the Taylor Swifts and Arianna Grandes of the world are the only ones making any real money in music, the people who reach for higher achievement will inevitably be reliant on the artist industrial complex. In other words, the global network of foundations, independent labels, NGOs and state sponsored initiatives will allow a small percentage of accomplished artists to eke out a decent living while being reliable purveyors of propaganda for the global elites and the political left.
Unsurprisingly, there is one spiritual worldview that is conspicuously absent from Densmore's entire book despite the fact that one of his subjects afforded him an opportunity to mention it: Christianity. He predictably lavishes praise on the part of Bob Marley's life that everyone knows, but conveniently ignores that he was received into the Ethiopian Orthodox Church near the end of his life and died an Orthodox Christian. As though "Get Up, Stand Up" is the final word on how Bob Marley viewed Christianity. Given that the book is called The Seekers and Bob Marley arrived at Orthodoxy near the end of his life journey, it seems like a point that's relevant to the entire thesis of the book. What does it say that John Densmore writes a book about the spiritual world and its connection to music and art, but excludes any discussion of Christianity except to either imply that Christians are backwards crypto-fascists or that it's an antiquated worldview that's incompatible with the New Aeon of Collective Consciousness? It's okay to be "spiritual" but not Christian? Your "spirituality" can only be defined in relation to its opposition to Christianity? Accessing the "void" is commendable even if it cuts your life short, but confessing your faith in Christ after living a life of worldly fame and secular excess doesn't count? Even if you are under pressure from #TOLERANT ganja smoking Rastafarians to toe the line? "Seeking" is great as long as it doesn't lead to Christianity?
Densmore says repeatedly he doesn't want to get "biblical", but you can't have your cake and eat it too, John. I think he tips his hand on pg. 108 when he asks "what is art but a con?" He does a rhetorical two-step in the next sentence by saying it's a "seance", but the word "con" is a colloquial term for "confidence game". As in a scam. Is art a sacred sonic sacrament or is it a scam, John? More importantly, if he does know the answer, is he blurring the lines on purpose? I'll bet my bottom dollar he doesn't want you to think about it too hard.
This de facto coronation is worth noting from the outset especially since Densmore is speaking primarily to a secular and I contend predominantly atheist audience. Though he describes himself as a believer in "the Mystery", he has no compunction ascribing sanctity and religiosity to his subjects and the transcendent nature of their artistic expressions. He has no problem talking about accessing the "void" as though it's an unassailable good and in spite the fact that it resulted in the premature death of his bandmate. "Rock n roll is sacred" according to Densmore.
Apparently, it's totally fine to pronounce Lou Reed's "Heroin" or "I'm Waiting for the Man" as something sacred simply because he wrote about "gritty" subjects. It's fine to pronounce Jim Morrison a "shaman" despite having no connection whatsoever to any native cultural tradition nor submitting himself to an apprenticeship under an actual elder practitioner. It's fine to just blindly assert that we're "better" for Janis Joplin's canonization as an "icon" while simultaneously lamenting that unnamed "psychic wounds" prevented her from realizing the depth and importance of her impact. It's fine to exalt an incestuous pederast like Jerry Lee Lewis because.....he was a great showman or something. This Boomer generation "spirituality" buffet is essentially what Densmore is selling. Hey man, let's just pick and choose what "spiritual" slogans, buzzwords and mystical ideas make us remember that time we ate peyote out in the desert and then call ourselves Enlightened! Like Jesus is the lead singer, Buddha is on drums and Allah is the lead guitarist, man! It's naïve, yet par for the course for many in his generation.
The question of course is where does Densmore's journey to Enlightenment ultimately lead and is it a path worth following? Is what he professes true? How do you know whether Joseph Campbell's quasi-religious prattle is actually deep wisdom? Why should we listen to Robert Bly's grand narrative about manhood? I enjoy the music and artistry these artists produced as much as anyone, but let's look at the track record. He showers Morrison with all of this praise for his ability to access the "void" and "raise consciousness", but why did this mystical gift leave him dead at 27? What was it like to live with this "shaman" when he was deep in the throes of his addiction, John? How about Lou Reed? Janis Joplin? Why is Jerry Lee Lewis' marriage to his 13-year old cousin written off as a "bad PR move" whereas even the slightest hint of anyone on the "conservative" end of the political spectrum who runs afoul of the #MeToo zeitgeist touches off a firestorm fake indignation? Densmore's selectively politicized outrage and willingness to sugarcoat and downplay the pain these people inflicted on themselves and those around them reeks of willful dishonesty. I'll give Morrison or anyone else his due for making the most of his abilities, but taking psychedelics and reading Carlos Castaneda doesn't turn you into Don Juan. Nor does it mean you've illuminated a spiritual path in a cohesive system of faith that should be followed. Essentially, it is fallacious to make a direct equivalency between artistic prowess and spiritual maturity. Most importantly, even if you subscribe to the worldview Densmore is promoting, there is no mechanism for discerning the tipping point when journeys into the "void" become destructive to you or those around you.
Densmore audaciously claims that substance abuse and deep artistry don't have to go hand in hand, but is he really trying to tell us that the message of The Doors and rock culture in general was one of pietistic restraint? Did Freddy Mercury get the memo? Brian Wilson? Amy Winehouse? Kurt Cobain? Elton John? Bon Scott? Sid Vicious? Layne Staley? Prince? Scott Weiland? Whitney Houston? Is he really trying to tell us that people listen to "Roadhouse Blues" in a state of deep and sober contemplation? Does he really think that "The End" is going to be helpful to someone in the throes of suicidal thoughts or substance abuse? This entire line of thinking also smacks of willful obliviousness and special pleading.
Densmore openly admits his metaphysics are a patchwork, but that doesn't stop him from making broad claims about our spiritual nature. On page 148, he asserts that "we are sound". Okaaaay. What kind of sound, John? Is a harmonious fugue by Bach or is it the noisy cacophony of Merzbow? Is it the sound of a gentle summer rain or is the sound of someone ripping a huge fart? There are lots of different kinds of sounds. Some are appealing and some are downright horrific. Be more specific, bro. It wasn't qualified or expounded upon. It sounds great as a slogan, but how does he know? And what are you supposed to do with this information in terms of spiritual development? A few pages later on 152, he asserts we all have an "internal symphony" playing. First it's just "sound", then we have an "internal symphony" playing. Isn't there a distinction to be made between random "sound" and the ordered realm of music? I realize that the avant gardists don't think that distinction exists anymore and it's a distinction Densmore repeatedly blurs, but I'll bet my last dollar the majority of the world does. I believe that music affects us in profound ways, but that doesn't mean that our spiritual nature IS sound, John.
He goes on to assert that the "dance between performer and listener is a covenant of love" and that music is a "direct vehicle to love". Really, John? Did the Sex Pistols hold that same confession of faith? How about GG Allin? Marilyn Manson? How about Watain or Behemoth? Musicians use music to convey a wide variety of sentiments and I'm not sure you can automatically assert that it's a "covenant of love" that binds him to his audience or that a song like "Angel of Death" by Slayer is a "vehicle to love".
However, for the record, I am also somewhat sympa-thetic to the general sentiment Densmore is expressing throughout the book. I understand how he could see secular music as a vehicle for spiritual transcendence and a way to attain a deeper level of consciousness and awareness. It's not a unique view by any means, and all of his contemporaries profess a similar messianic mission in their own music. So I get it. I also think it's true that music provides a gateway to the spiritual realm. I felt it when I was growing up listening to The Doors. Hedonistic and materialistic dreams notwithstanding, I intuitively grasped my there was something Important, Edifying and Meaningful about being a musician. It was The Secret Journey. It demanded a lifetime of dedication and discipline. It demanded excellence and purpose. It was the secular version, and ultimately an inversion, of the life of asceticism a monk would pursue in a monastery. If anything, it is rock solid confirmation that the human soul craves meaning and purpose. To unite with the infinite.
In terms of Densmore's prose and storytelling abilities, it's analogous to his drumming. It's adequate and approachable, but he's punching above his weight. Despite his rather weak attempts at humility and self-effacement, Densmore is understandably cashing in on the legacy of The Doors and his access to his renowned subjects. In some cases, he's just venting the petty grievances he's held over the years while simultaneously trying to explain why their art is transcendent. As a writer and someone who is by default claiming a mantle of expertise in art and matters of spirituality, the same criticism I have about him as a player is applicable in both cases. Densmore is an average player whose overall approach was effective in the context of The Doors and had little else to offer as his post-Doors career attests. Think I'm being unfair? Compare Densmore to someone like Steve Smith after Journey or Terry Bozzio after Zappa and Missing Persons. Hell, compare him to his own standard bearer, Elvin Jones. Elvin's tenure with Coltrane made him a legend, but he remained active up until the very end. How many drummers consider Densmore as someone who continues to push the envelope on the instrument? In terms of his spiritual quest and credentials, you're probably already aligned with him if you're reading the book so he's preaching to the choir. What he's saying requires no commitment or sacrifice either. It's the ultimate psychological sedative. Hey, you like the music these people made? Congratulations, you're "spiritual".
Of course, Densmore is yet another aging Boomer leftist who still thinks that his worldview is edgy and subversive. He slides in all his tiresome talking points about the big, bad "conservatives" in AmeriKKKa who are afraid of the gays and can't tolerate the devil's rock music. He talks about the Velvet Revolution as though it was some organic phenomenon and that it wasn't engineered by the very same people who catapulted his band into the limelight. He would rather talk about Jackson Browne and Neil Young's lawsuits against John McCain and Donald Trump than talk about Obama's invasion of Libya or Joe Biden's support for the Iraq War. He laments the injustice of war, yet he openly champions the Orwellian idea of a "Minister of Peace" as though someone who holds that office would actually achieve it. He dutifully refers to a black woman as "African American" while referring to himself as a "honky" with the requisite self-loathing and posture of would-be self-deprecation. He affects this fake piety which prohibits him from saying the word "faggot" despite the fact that Morrison is lionized for famously disregarding the censorious prudes on the Ed Sullivan show. He talks about "racism" as though that is the sole moral blight on the public consciousness. As though the white man listening to salsa is going to make him ignore the problems of drug and human trafficking that accompany illegal immigration. He gets his panties in a twist over Morrison's arrest at the infamous Miami concert by disputing whether or not it even happened and predictably asserting it was a "right wing" plot. "Right wing" conspiracies are real, but they don't exist on the left, do they, John? Why split hairs over whether it happened, John? Be a "liberal" and champion his "right" to expose himself, John. Isn't that kind of "shamanic" edginess exactly what was needed to help people access the "void"?
Like all of his ideological contemporaries, his entire worldview is little more than a collection of selective outrage, recycled buzzwords, empty slogans, childish delusions and shallow rhetoric. When plutocrats, corporations, Silicon Valley, Hollywood and the entire global establishment are all openly parroting the same talking points and are using people like John Densmore to push them, it's time to recognize there's nothing subversive, edgy, contrarian, or provocative about anything he's saying. It is literally the status quo. He is unironically pushing Bill and Ted level "music can save the world man!" level pablum without even a hint of self-awareness of how completely naïve and vacuous this notion is.
Densmore is also trying to cast the Boomer generation rock legacy as True Art. He praises Patti Smith because she railed against the "hypocrisy" of rock's ascendancy to commercial and corporate heights. Please. This futile quest for Artistic Integrity in rock and pop is a mirage. It is a commercial endeavor by definition. It is not designed to sustain a hierarchy of objective aesthetic values. Densmore and others can extol the artistic integrity (i.e. sanctity in his formulation) of Patti Smith and Lou Reed as much as they want, but at the end of the day, Joe Biden's favorite interviewer, Cardi B, is just as much a heiress to the legacy of The Doors as Mazzy Star or PJ Harvey. The entire rock and roll project was from its inception a giant experiment in social engineering.
To his credit, he tries to go highbrow by including the likes of Elvin Jones, Emil Richards, Airto Moreira, Ravi Shankar and Gustavo Dudamel, but jazz, classical and world music are mostly publicly funded, state sponsored charity projects nowadays. In an era of full spectrum domination of corporate backed popular music, people just don't give a shit about High vs. Low Art discussions. Subjective aesthetics means subjective standards. The hardcore Katy Perry fan is not likely to discover John Coltrane nor care one bit that she is missing out. People like what they like and ignore what they don't like. While the Taylor Swifts and Arianna Grandes of the world are the only ones making any real money in music, the people who reach for higher achievement will inevitably be reliant on the artist industrial complex. In other words, the global network of foundations, independent labels, NGOs and state sponsored initiatives will allow a small percentage of accomplished artists to eke out a decent living while being reliable purveyors of propaganda for the global elites and the political left.
Unsurprisingly, there is one spiritual worldview that is conspicuously absent from Densmore's entire book despite the fact that one of his subjects afforded him an opportunity to mention it: Christianity. He predictably lavishes praise on the part of Bob Marley's life that everyone knows, but conveniently ignores that he was received into the Ethiopian Orthodox Church near the end of his life and died an Orthodox Christian. As though "Get Up, Stand Up" is the final word on how Bob Marley viewed Christianity. Given that the book is called The Seekers and Bob Marley arrived at Orthodoxy near the end of his life journey, it seems like a point that's relevant to the entire thesis of the book. What does it say that John Densmore writes a book about the spiritual world and its connection to music and art, but excludes any discussion of Christianity except to either imply that Christians are backwards crypto-fascists or that it's an antiquated worldview that's incompatible with the New Aeon of Collective Consciousness? It's okay to be "spiritual" but not Christian? Your "spirituality" can only be defined in relation to its opposition to Christianity? Accessing the "void" is commendable even if it cuts your life short, but confessing your faith in Christ after living a life of worldly fame and secular excess doesn't count? Even if you are under pressure from #TOLERANT ganja smoking Rastafarians to toe the line? "Seeking" is great as long as it doesn't lead to Christianity?
Densmore says repeatedly he doesn't want to get "biblical", but you can't have your cake and eat it too, John. I think he tips his hand on pg. 108 when he asks "what is art but a con?" He does a rhetorical two-step in the next sentence by saying it's a "seance", but the word "con" is a colloquial term for "confidence game". As in a scam. Is art a sacred sonic sacrament or is it a scam, John? More importantly, if he does know the answer, is he blurring the lines on purpose? I'll bet my bottom dollar he doesn't want you to think about it too hard.
November 29, 2023
I’ve just read Densmore’s two memoirs and I’m on a roll. I like reading what and who artists - musicians, visual, acting - draw inspiration and influences from. And who they like to listen to (Neil Peart surprised me some.) So this is a cool ensemble and I learned some history.
Snippets I highlighted, and some people I need to look up:
“Just as painters “see” the world, musicians’ primary compass through life is their ears. Like my colleagues, I “hear” the world. The one constant thread through my life so far is that I have been constantly fed and nourished by music.”
“How could I not start with my mom? She wasn’t a musician—just a force of nature whose life would span almost the entire twentieth century. My dad was quiet, and Mom was not. ”
“My dad thought our band name was dumb, but he didn’t know the book it was taken from, The Doors of Perception by Aldous Huxley. He didn’t get that the idea was to open the doors of your mind. Not necessarily with drugs, although that’s what the book was about. It could also be done with alcohol. It could be done with meditation. It could even be done with books.”
{…with books… yeah, that would be me.}
“When I was a teenage drummer, I stumbled onto John Coltrane’s records and sensed something magical. I was too young to understand what attracted me. But I knew that the constant “searching” in Elvin Jones’s drumming put me in a trance. Jones used rhythm to access eternity.”
“Elvin’s constant “conversation” with Coltrane later inspired me to try to have a musical dialogue with Jim Morrison. It was Jones’s loose way of playing that gave me the courage to literally stop the steady rhythm on “When the Music’s Over” during Morrison’s rap about the earth and just jab at my kit (drum set) in quick expressive grunts. ”
{He talks a lot in all three books about conversing with Morrison via his drums.}
“Someone remarked to me that if Jim hadn’t found the band, he might have died sooner. I’m still chewing on that thought. The positive side of Jim’s excessiveness—his impulse to have everything and have it now!—channeled his angst into creativity. The negative side of it, of course, would eventually surface as substance abuse.”
“In the words of one of the great songwriters, Randy Newman, “It’s Lonely at the Top.” Knowing that made me less jealous of the center spotlight onstage. I was in the back, and maybe that was a safer place to be. Back there you could get singed a little from the attention, but you were breathing in less of the helium going straight upstairs to the ego.”
“Balance is everything. If the ice caps are melting, or if the guitar player is too loud, life gets out of balance (koyaanisqatsi). That’s why the really accomplished musicians listen intently to their fellow players. They put aside their egos. If one of the musicians gets a little too full of himself when he’s the focal point, the “star,” the surrounding planets have to adjust. But sometimes the star spins out of orbit and no amount of adjusting will bring him back.”
“Music played in the Eastern tradition of modalism (phrases repeated over and over) affects the nervous system, creating a certain psychological state.”
{For some, I guess}
““Airto is a composite of all the percussionists throughout all time. Some of his instruments are very old, and the vibrations emitted from them give a sense of history. You can feel the depth of the ages in them. His playing on them taps something ancient, deep, and primal down in your psyche. […] If you think I’m over the top here, go to YouTube and listen to [Airto] Moreira at the 2003 Modern Drummer Festival. Then you’ll understand”
“Too often fans and audiences don’t understand that musicians honor those who came before them. We came to love the art forms of the previous generation and learned our craft by studying and admiring their work.
Artists aren’t the only ones who do this. Those of us who were young during the ’60s were completely lied to by our parents about the Vietnam conflict, so those of our generation who became parents listened more to their kids. ”
“When I was a kid, I asked my parents, if there is only one God, why are there so many religions? My mom, who went to mass every Sunday, said that there were many wonderful religions, but that not all of them got you into heaven. I was young then, and she later rescinded that idea.”
“When a poem is read by someone who understands it, its meaning is instantly revealed to the listener. ”
{And if you don’t understand? Meaningless?}
“and finally, well, would I play “LA Woman” with the [LA Philharmonic] orchestra?
WOW. Inside I was screaming, Yes!, but first I asked who would be singing. Chris Martin from Coldplay wants to do it badly, Gustavo replied. Well then! “I’m very interested!” I told him.”
{WTAF? Martin???? Unbloodybelievable. Desecration.}
“Lots of critics are frustrated artists who didn’t achieve the level they were hoping for, instead they lean heavily on the license to “criticize” they feel comes with the related word “critic.”
{Spot on}
Snippets I highlighted, and some people I need to look up:
“Just as painters “see” the world, musicians’ primary compass through life is their ears. Like my colleagues, I “hear” the world. The one constant thread through my life so far is that I have been constantly fed and nourished by music.”
“How could I not start with my mom? She wasn’t a musician—just a force of nature whose life would span almost the entire twentieth century. My dad was quiet, and Mom was not. ”
“My dad thought our band name was dumb, but he didn’t know the book it was taken from, The Doors of Perception by Aldous Huxley. He didn’t get that the idea was to open the doors of your mind. Not necessarily with drugs, although that’s what the book was about. It could also be done with alcohol. It could be done with meditation. It could even be done with books.”
{…with books… yeah, that would be me.}
“When I was a teenage drummer, I stumbled onto John Coltrane’s records and sensed something magical. I was too young to understand what attracted me. But I knew that the constant “searching” in Elvin Jones’s drumming put me in a trance. Jones used rhythm to access eternity.”
“Elvin’s constant “conversation” with Coltrane later inspired me to try to have a musical dialogue with Jim Morrison. It was Jones’s loose way of playing that gave me the courage to literally stop the steady rhythm on “When the Music’s Over” during Morrison’s rap about the earth and just jab at my kit (drum set) in quick expressive grunts. ”
{He talks a lot in all three books about conversing with Morrison via his drums.}
“Someone remarked to me that if Jim hadn’t found the band, he might have died sooner. I’m still chewing on that thought. The positive side of Jim’s excessiveness—his impulse to have everything and have it now!—channeled his angst into creativity. The negative side of it, of course, would eventually surface as substance abuse.”
“In the words of one of the great songwriters, Randy Newman, “It’s Lonely at the Top.” Knowing that made me less jealous of the center spotlight onstage. I was in the back, and maybe that was a safer place to be. Back there you could get singed a little from the attention, but you were breathing in less of the helium going straight upstairs to the ego.”
“Balance is everything. If the ice caps are melting, or if the guitar player is too loud, life gets out of balance (koyaanisqatsi). That’s why the really accomplished musicians listen intently to their fellow players. They put aside their egos. If one of the musicians gets a little too full of himself when he’s the focal point, the “star,” the surrounding planets have to adjust. But sometimes the star spins out of orbit and no amount of adjusting will bring him back.”
“Music played in the Eastern tradition of modalism (phrases repeated over and over) affects the nervous system, creating a certain psychological state.”
{For some, I guess}
““Airto is a composite of all the percussionists throughout all time. Some of his instruments are very old, and the vibrations emitted from them give a sense of history. You can feel the depth of the ages in them. His playing on them taps something ancient, deep, and primal down in your psyche. […] If you think I’m over the top here, go to YouTube and listen to [Airto] Moreira at the 2003 Modern Drummer Festival. Then you’ll understand”
“Too often fans and audiences don’t understand that musicians honor those who came before them. We came to love the art forms of the previous generation and learned our craft by studying and admiring their work.
Artists aren’t the only ones who do this. Those of us who were young during the ’60s were completely lied to by our parents about the Vietnam conflict, so those of our generation who became parents listened more to their kids. ”
“When I was a kid, I asked my parents, if there is only one God, why are there so many religions? My mom, who went to mass every Sunday, said that there were many wonderful religions, but that not all of them got you into heaven. I was young then, and she later rescinded that idea.”
“When a poem is read by someone who understands it, its meaning is instantly revealed to the listener. ”
{And if you don’t understand? Meaningless?}
“and finally, well, would I play “LA Woman” with the [LA Philharmonic] orchestra?
WOW. Inside I was screaming, Yes!, but first I asked who would be singing. Chris Martin from Coldplay wants to do it badly, Gustavo replied. Well then! “I’m very interested!” I told him.”
{WTAF? Martin???? Unbloodybelievable. Desecration.}
“Lots of critics are frustrated artists who didn’t achieve the level they were hoping for, instead they lean heavily on the license to “criticize” they feel comes with the related word “critic.”
{Spot on}
February 17, 2022
Best book I've read in a long time! Music is creativity, religion, perception and inspiration all together.
(The German version has a lot of typos but otherwise it's absolutely brilliant)!
(The German version has a lot of typos but otherwise it's absolutely brilliant)!
December 6, 2020
3.5 stars.
I did enjoy the unique point of view and experiences John Densmore brought to this book, and his ability to relate the principles of sound and silence. I do wish that he would have spent a bit more time introducing us to his inspirations. While the short chapters made for a fast moving, entertaining book, I was unfamiliar with many of the people he discussed, and a bit more introduction or context would have been helpful. I found myself skimming through some chapters or stopping to google a few people for more information. However it was engaging for the most part, and it is clear that Mr. Densmore is as much a truly sincere fan as the rest of us are.
I am very grateful to the publisher who provided me with a copy of the book via NetGalley.
I did enjoy the unique point of view and experiences John Densmore brought to this book, and his ability to relate the principles of sound and silence. I do wish that he would have spent a bit more time introducing us to his inspirations. While the short chapters made for a fast moving, entertaining book, I was unfamiliar with many of the people he discussed, and a bit more introduction or context would have been helpful. I found myself skimming through some chapters or stopping to google a few people for more information. However it was engaging for the most part, and it is clear that Mr. Densmore is as much a truly sincere fan as the rest of us are.
I am very grateful to the publisher who provided me with a copy of the book via NetGalley.
December 22, 2020
The Seekers presented profiles of some of the musicians, artists and writers that Densmore has met over his career as drummer for Jim Morrison and The Doors, and afterward. I found that the profiles did not go into as much depth as I had hoped (only 5 pages on Jim Morrison!) or their individual approaches to creativity, but it was interesting enough to keep me reading.
He emphasizes silence, the empty space between the notes as much as the notes themselves. He discusses the concept of getting in the “zone” and it’s relationship to time. And lastly, he discusses the idea of music as healing, as a spiritual connection to the cosmos.
From page 193:
He emphasizes silence, the empty space between the notes as much as the notes themselves. He discusses the concept of getting in the “zone” and it’s relationship to time. And lastly, he discusses the idea of music as healing, as a spiritual connection to the cosmos.
From page 193:
"Music is a meditation: it gathers everyone to crouch together around a sonic campfire that crackles with healing sounds.
Instant community, that’s what music creates in people, especially live music. Wherever it takes you, the life path doesn’t seem so empty if it leads you through folks standing side by side, dancing, singing, and generally having a real good time.”
April 2, 2021
John Densmore talks about the people who he met during his lifetime and how they influenced him musically and spiritually. He also talks about his bandmates Ray Manzerek and Jim Morrison. He also talks about other artist who he met like Janis Joplin, Paul Simon, Elvin Jones and Willy Nelson. The most interestingly, he talks about some spiritual people on how they influenced his life like the Dalai Lama, Robert Bly and Ram Dass.
February 22, 2023
Not what is to be expected from a former member of a legendary band. Unfortunately, Densmore only mentions all those influential spiritual and musical gurus in passing, so in parts this feels like dropping names as a means of fishing for compliments. I was quite pleased though that I'd already dealt with most of his heroes a bit more in detail than he did. A fast read with bumpy passages where the author struggles way too much to leave a politically correct impression.
November 18, 2020
I have to admit that the author isn't someone whose name is one that I recognize right away. I read this because I like celebrity memoirs of all kinds. The author wrote a great book about the behind the scenes events of his career. I liked the layout of the book, as it wasn't chronological, so I was able to pick and choose what I wanted to read and when.
Want to read
February 2, 2021The "Rocker and the Dude," L.A. Times article by Steve Lopez about the friendship of Gustavo Dudamel, conductor of the Los Angeles Philharmonic and Doors drummer John Densmore. "The Rocker and the Dude" is also the title of one of the chapters of The Seekers.
http://enewspaper.latimes.com/infinit...
http://enewspaper.latimes.com/infinit...
April 5, 2021
This book...more like a collection of essays, it reads like an aging rocker discovered xanga web blogs and has some random meandering musings about his past and current thoughts.
It rambles. At times it feels like a quote book, other times a retrospective on his other books.
It wasn't bad, just okay.
It rambles. At times it feels like a quote book, other times a retrospective on his other books.
It wasn't bad, just okay.
April 14, 2021
(2). This is a hard book to characterize. It certainly is Densmore showing his literary chops. He also displays a deep (ish) intellect and a unique ability to communicate with all kinds of people. These little stories are mostly pretty interesting, but tend to be pretty self-aggrandizing at the same time. A reasonable little diversion from the Doors drummer. OK stuff.
May 6, 2021
Being a huge Doors fan, this was a must-read. I loved it. John Densmore tells the best stories upon meeting these famous people, putting the reader right into the story. Some of the stories I really enjoyed were Jim Morrison and Ray Manzarek (of course), Bob Marley, Van Morrison, Janis Joplin, Jerry Lee Lewis, and Willie Nelson.
March 15, 2024
The author is the drummer for the rock group The Doors. He has a memoir already so this does not talk very much about his life with the group, but is more a who's who the people he has met or have influenced him in some way. I wanted to like this, but the stories were not very interesting. Hopefully, his other memoir is better.
June 16, 2021
Very enjoyable essays about various musicians, philosophers and spiritual teachers. John Densmore. As Bonnie Raitt says, "I really enjoyed getting John's unique and insightful view of such an eclectic group of people."
February 7, 2021
Fascinating! Insight into some of the most well-known figures of the last couple of generations. This guy knows everybody!
March 26, 2021
Each chapter was about a 60s and 70s icon he'd encountered in his life as the drummer for The Doors. Some were interesting. Others not so much and I skimmed those chapters.
October 31, 2022
Interesting read by the drummer of the Doors. Each chapter is devoted to an individual musician, poet, thought leader, etc. that Densmore has crossed paths with during his long career.
March 4, 2024
A short but interesting journey into the mind of a musician. Would be interested to read his book about his time in the Doors.
December 30, 2020
It was a good read, often drifting into stuff too cosmic and esoteric, however it is enjoyable.
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