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Hi Vince, question for you ;)

Posted: Mon May 22, 2006 5:39 am
by wha happened
*Note this topic was deleted in the recent meltdown


Posted: Thu May 18, 2006 12:42 am
Hello Vince, my name is Traci. I just want to say that I think it's great that you are here for this forum to answer people's questions. It's always great to hear someone's perception of The Doors that actually worked so closely with them!
My question for you is about Jim. I'm working on puting something together about Jim's time in Clearwater before he left for California and started The Doors. I would love to talk with you and give you more detail. I was just wondering if he said anything about living there with his grandparents and going to St. Pete. Junior College and FSU. Maybe said something about something from that time period influencing an action or a song lyric? Mary Werbelow was a big part of his life then and I know she came to Cali with him and was the influence for more than a couple songs. Do you have any info that might be interesting? I would love to talk with you and maybe get a quote for my project?
Can't wait to hear from you!
Posted: Thu May 18, 2006 12:32 pm Post subject: The backgroud from Clearwater

I came to the Doors in December of 1967. You might say I was a Jonny (Vince) come lately. I was not involved in the early days when the Doors first went on public tours.

I certainly had no inkling of Jim's background in Clearwater or the person who traveled with him to California. I have heard several stories about his younger days but these are from 3rd persons and, in some cases, are not verifyable.

I have nothing profound to say about Jim or his activities aside from my immediate observations and personal encounters with him. I might add that my conversations with jim were somewhat revealing - but only to the extend that he wanted the revelation to go. Jim always wanted to control the discussion and he guided it to his likig or evaded the issues.

As far as ancient history is concerned I would be of little help. I do not want to pretend to be a fountain of information in areas where I am not. I do not want to create a myth where there is none. Thanks for the invitation in any case.

Road Manager
The Doors


Posted: Thu May 18, 2006 4:57 pm Post subject: Thank you
Thank you very much for the reply and for your honesty. If you can't help me, well then, you just can't help! And I wouldn't want you to make anything up. I just thought I'd try it. I would love to hear about some of your conversations though. Would you be able to post anything like this here or should I through out a topic for you?
How about this one.....
Waiting for the Sun album. It was the vocal day and Jim was supposed to do the vocals for 2 songs and instead came in with a girl in a pink car. He laid the vocals for 5 to 1 all pilled up. Were you there that day? I would love to hear your take on it. I've only read Ray's.
How about lyrics. Did you ever ask him what certain things meant? What a certain song was about? ANything like that?
Thanks again!
Posted: Thu May 18, 2006 5:09 pm Post subject:
This would be a good question for the Vince Treanor and The Doors in the Studio thread, Maybe you can edit this post and cut the Studio part and copy it to a thread up there, or I can do it for you?

The Freedom Man

Posted: Thu May 18, 2006 6:42 pm
You know that the recording for that album was some38 years ago. It is a long gtime ot remember things of little importance in every day life.

I did not concern myself with the Coming and going of Jim. Who he came with and how were of little importance to me inside the studio. I do not remember that particular day. I was always there when the boys were recording instrument tracks - just in case anything happened. I was not so often present when Jim was recording vocals. They already had a circus, they did not need additional spectators. More people werw a distraction for Paul and Bruce and a further excuse for Jim to "Perform"

As for specific conversations with Jim - I cannot remember. We conver ed many topics over a 3 year period and sometimes, as on a week end, the conversations went on for hours. Jim had no money and I had time.

I wonder, after 38years, does it really matter whether Jim arrived in a pink car or a black one. I think, I may be wrong, that the point was that he arrived at all - with or without a girl or car.

I will do my best to remember events and incidents for those asking about specific topics of importance. Casual conversations and the specifics of 99% pf the conversations I had with any or all of them have been deleted from memory. I had to make room for chinese. Perhaps it was for techniques of teak rail varnishing. Not sure.

Really, I think for information like that you should check back issues of Tattler or the Inquirer. Perhaps the gossip columns of the LA times or Hollywood Reporter might suffice.

It might be more germain or interesting to know that the recordings were done at the TTG studio, on the second floor in the large studio that was used for many of the ABC radio shows during the 1940's. Or that Rocky Mountain Instruments, a division of the Allen Organ Company gave Ray a new organ, which he hated with a passion.

You want a famous line, "I hate that thing, Take it out of here. It's yours, take it home with you." how about that. It did not make the front page of the LA TImes, but it was words straight from Ray, spoken with real emotion. I felt badly because I had negotiated that deal and was quite pleased with it myself. It was, as all Allen products are, built with care and precision and designed for easy maintenance and service. I was rather disappointed when Ray wnated none of it, preferring, instead, his old beat-up Kalamazoo.

Here, what happened to it? In the end, after the music was over, Ray gave it to one of his brothers.

See, there is an important piece of Doors history. But Pink Car!!! Does that really matter??? Do you think that Johnson would have had a heart attack if Jim had arrived in a red car, say, Or Robert Kennedy would be alive if Jim had arrived in a yellow taxi with a cute boy???

You are assuming that the appearance of a pink car - in hollywood - would occasion comment or even notice. I did not spend my time standing on the sidewalk car watching to see what jim was riding in of late because I really didn't think it mattered. Had I known that 38 years later, this was a matter of importance to you, I would have done my best to observe what car Jim was driving on which days and had a log already for you. The importance of setting up and monitering the equipment would have been insignificant compared with the importance of Jim's mode of transportation and the status of his current companion which he changed about as fast as his underwear (When he wore any).

Pink car - Really. Boy I absolutely neglected my duties that day. Sorry.
Road Manager
The Doors

Posted: Thu May 18, 2006 7:20 pm Post subject:
RMI Electrapiano 300A


There is at least one photo of Ray playing it at PBS 1969, possibly during rehearsal, but I don't have it on me right now.
Thank you for telling us why it disappeared.

Posted: Thu May 18, 2006 9:53 pm Post subject: importance
I'm sorry but I think you completely misjudged what I was trying to say. The importance is not on the color of the car or who he was with, I was merely stating these descriptions to help you remember since I know that it was so long ago. I read about this in Ray's book and was curious what you thought. Apparently Jim gave a great take that day for the song 5 to 1. Obviously Ray thought it was important enough to mention. As a fan, I am interested in the recording process and what outside factors helped make these amazing songs.
Thanks for your time.

Posted: Sat Nov 11, 2006 2:21 pm
by vince
You must appreciate that we were generally the first in the studio and last out. In between it was set up time, working with Bruce Botnick on how he wanted everything set so he could get the best sound on tape with the maximum separation between the instruments all being played in the same room.

Once the recording started it was just tense hoping that nothing would go wrong. WE generally did not see the coming and goings of the boys. They arrived, worked hard to get everthing on tape as Paul and Bruce wanted, and left.

As I said - I was not always present when Jim was doing vocals. I did not like either the crowd that came in with him or the extreme use of drugs that went on . The viewing area of the studio was limited in size and with all the smoke floating around I wanted nothing to do with it.

I don't want to seem short or mean. SOmetimes what appears to be frivolous questions bother me and I react bady. My appologies.

Ray probably remembers because he was there when this specific incident occurred.