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Light My Fire (Anglais) Broché – 15 octobre 1999

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Descriptions du produit

Revue de presse

"The best book yet about The Doors." --Booklist

Présentation de l'éditeur

"The best book yet about The Doors." --Booklist

The inside story of the Doors, by cofounder and keyboard player Ray Manzarek. Includes 16 pages of photos.

"A refreshingly candid read...a Doors bio worth opening." --Entertainment Weekly
No other band has ever sounded quite like the Doors, and no other frontman has ever transfixed an audience quite the way Jim Morrison did. Ray Manzarek, the band's co-founder and keyboard player, was there from the very start--and until the sad dissolution--of the Doors. In this heartfelt and colorfully detailed memoir, complete with 16 pages of photographs, he brings us an insider's view of the brief, brilliant history...from the beginning to the end.
"An engaging read." --Washington Post Book World

Détails sur le produit

  • Broché: 384 pages
  • Editeur : Berkley (15 octobre 1999)
  • Langue : Anglais
  • ISBN-10: 0425170454
  • ISBN-13: 978-0425170458
  • Dimensions du produit: 15,2 x 2,5 x 22,9 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 1.286.880 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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We don't know what happened to Jim Morrison in Paris. Lire la première page
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Format: Broché Achat vérifié
The story of the Doors as seen and lived by Ray Manzarek. It is coloured by Ray's own outlook on life. This could seem weird to anyone not having known the morals and philosophy of the 'love generation'.
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Commentaires client les plus utiles sur (beta) 147 commentaires
63 internautes sur 68 ont trouvé ce commentaire utile 
Manzarek Takes You With Him 16 juillet 2000
Par Reviewer - Publié sur
Format: Broché
Of all the books I've read about The Doors, my favorite has always been "No One Here Gets Out Alive," by Jerry Hopkins and Danny Sugerman. Until now. Now, unequivocally, it's "Light My Fire: My Life With The Doors," by Ray Manzarek, the keyboard player and co-founder (along with Jim Morrison) of The Doors. What makes this book so great is that Manzarek has a way of making you feel like you're there with him, and Morrison and the others, as he recounts that magical, psychedelic period of time between 1965 and 1971. As he puts it: "In that year we had an intense visitation of energy. That year lasted from the summer of 1965 to July 3, 1971." And as he writes, he as much as welcomes you into their lives, sharing their most intimate and personal moments. You're there with them on the beach in Venice, California, when Morrison first mentions to his friend Ray that he's been writing some songs; and it is in that moment that "The Doors" are born, and you're there, and it's as if it is one of your own memories. Manzarek writes with such obvious joy and fondness of this period of time in his life; of his memories of Jim Morrison, the charismatic and enigmatic poet whom he loved as a brother and still misses to this day; of his then girlfriend (now wife of all these many years), Dorothy Fujikawa, whom he adores; of finding guitarist Robby Krieger and drummer John Densmore and making The Doors a reality; and it's all done with such a Bradburyesque style and flair that by the time you're through you feel as though you're one of them, part of that unique inner-circle of friends. Of course, there's the down side, too, about which he is equally as candid as he is about the rest of it. How devastating it was, for example, to watch Jim Morrison's decline, his descent into the void of the bottle; how it began and why, and the reasons neither he, nor anyone, could help Morrison. He discusses quite frankly how his friend, Jim, the gentle poet with an exuberant love for life, would become "Jimbo," the self-destructive, counter-productive redneck. But throughout, Manzarek manages to remain upbeat and positive, concentrating on the love and good times, debunking many of the myriad myths about Morrison and the others, while painting an intimate portrait of who The Doors really were, and are. "Light My Fire," is poignant, incisive and alive; it is one of those books you are sorry to see come to an end. Like the short life of Jim Morrison, it's a shame there isn't any more.
95 internautes sur 109 ont trouvé ce commentaire utile 
Youch! Ray the Historian... 25 juin 2003
Par N. P. Stathoulopoulos - Publié sur
Format: Broché
Since this book appeared in 1998, The Doors--sans John Densmore, who had an iota of self-respect--have played Las Vegas. Thank God Jim Morrison didn't live to see his bandmates mutated into an embarassing lounge act, singing his songs in the performance graveyard that is Vegas.
It's clear Ray Manzarek does not like Densmore. It's clear now and it's bitingly clear in this book. Ray Manzarek has a real go at the history of The Doors, rewriting it exactly as he'd like it to sound in his mind. Ray conveniently ignores entire albums, tours, and other events in favor of waxing on about the chi, about how unbelievably incredible The Doors were and still are. He has a lot of love for Jim Morrison, but even this is tinged with a nasty shade of green. Instead of facing the fact that Morrison had a serious drug and alcohol problem, Manzarek creates an alter ego for Morrison known as 'Jimbo'. See, it's all 'Jimbo's' fault. Jimbo is the redneck alcoholic idiot that Morrison would become at random times, not the regular Jim Morrison who was a brilliant poet and all around nice guy.
You can imagine why he hates Densmore. Riders on the Storm, Densmore's version of the story, clearly shows that the drummer felt guilt over Morrison's spiral downward. Densmore came off as honest; he didn't beat the reader over the head with endless babble about Dionysus or the Age of Aquarius and the massive amount of acid Ray appears to have taken.
Meanwhile Manzarek would rather attach some kind of cosmo-spiritual explanation to Morrison's decline. He claims to have seen the spirit literally leaving Morrison's head the night of the final Doors performance in New Orleans in 1970. It's embarassing, it's manipulative and it speaks volumes about Ray's character.
Ray always looked like an erudite. He was well-spoken and he loved Morrison, backing his friend up as a serious poet.
However, Ray comes off as vindictive, clouded, and plain silly in this book. He has a serious beef with Oliver Stone, referring to him as a fascist, a term Ray still throws around like it's 1968. Ray was horrified at another version of The Doors' story by another artist since Ray wants it told according to hiw own memory. Unfortunately, what Ray remembers is very selective. This book spends eternity to reach the release of the first Doors album in 1967 and the same year follow, Strange Days. Ray just doesn't want to get too involved in the REST of The Doors' days. He hardly makes mention of the fact that after Morrison died the band kept going, releasing two studio albums and touring. Conveniently, those two albums STILL have never been released to CD. As with their impressive resume of doctoring live albums, The Doors are unmatched in selling the same material over and over while keeping the stuff fans really want tucked away (hence the boxset delay and its underwhelming content).
I would recommend this strictly as an offical version of the story from one of the band. However, be very careful in reading Ray's story. He wants everyone to remember The Doors only as he does...
51 internautes sur 59 ont trouvé ce commentaire utile 
No Good 15 septembre 2005
Par A reader - Publié sur
Format: Broché
I give this book 2 stars for the occasional first person insights into the Doors. But there is too little of it. There is too much of the rantings of a man who is apparently trapped in the 6os, and is undergoing a personal mind battle between himself as a flower child and a business man. He often comes on as one or the other of these two conflicting images.

Often he rants about the establishment and their love of power and money, but at the same time he exudes great excitement when he describes the business and money aspect of his music career; like the big bucks he got when 'Light my Fire' hit the charts and the new car and beach house he was able to then buy. Or when he describes getting his first royalty check from Elektra and "Grinning and Dithering" while he makes his wife guess at the figure. Then she "squeals" and they hug and yell "We're rich!" A few pages later he goes on ranting about power and money hungry people.

I found too much hypocrisy in his writing like when he keeps using the phrase "I hope the lovers win the war. Don't you?" Then a few pages later he comes on as anything but a lover with his nasty second-hand gossip about Morrison allegedly telling him that he didn't like John Desmore. Uh, wouldn't a true lover and person who preaches peace and goodwill amongst each other, have kept that to himself rather than basically telling the world "Jim liked me more than John." I mean, what does that serve other than hurting another man's feelings? Nasty stuff from a self professed lover of people.

"Break On Through" is a much more supperior book on this topic. And it is a shame. Because with Manzarek's personal insight into the group, he could have provided the greatest story....But instead he chose to hog the spotlight and put too much of himself, his hypocritical pseudo hippy rantings, and his mean spirited jabs at others who were a part of this chapter in his life, into this book. I was hoping for more. Instead he delivered mostly junk.
17 internautes sur 19 ont trouvé ce commentaire utile 
disappointing 27 mai 2002
Par Un client - Publié sur
Format: Broché
Manzarak impresses me as the dork who thinks he's hip if he "talks cool." I'm a Doors freak, but all the hippy-dippy language is silly. And he slams John Densmore again and again. Apparently Densmore slammed Manzarek in HIS book RIDERS ON THE STORM, and Manzarek got his revenge with this one. But I read RIDERS ON THE STORM and I only recall one dig about Densmore rolling his eyes at Manzerak treating the Doors like a religion. But this book has dig after dig after dig against Densmore. Apparently the Doors have considered touring with stand in singers, but the one thing interfering is Densmore's upset at this book. So Manzerak may have sabatoged that tour and can only blame himself. I actually saw Ray Manzerak play piano and tell stories at Muldoon's Irish Pub last year in Newport Beach, and he told interesting stories and only complimented the other Doors. I was bracing myself for him to slam Densmore as in this book. But he was very nice, and it was a great afternoon, and I really regret that the tone he took that afternoon, was not the tone he took in this book.
13 internautes sur 14 ont trouvé ce commentaire utile 
A tale of two Morrisons: Jim and Jimbo 17 septembre 2005
Par Reader - Publié sur
Format: Broché
After reading this book I was left with the impression that Manzarek has a very narrow definition of what a poet should be. Thus he attempts to recreate Morrison to fit into this definition. Any of Morrison's personality traits which don't fit into Manzarek's image of a poetic genius (There seems to have been many in Morrison's case) he lamely dismisses as the bufoonish behavior of an alter ego he creates and calls 'Jimbo.'

Manzarek often refers to Morrison's associates, who do not share his own passions in life, as 'losers' and 'degenerates.' He describes a friendship Morrison had with two such individuals whom he shared an interest with in horseback riding and target shooting. Obviously, in Manzarek's view, such all-American activities should not be pursued by poets. Thus he forcefully confronts these men and tells them "Jim does not f***ing ride horses."...Only 'Jimbo' would ride horses.

He also describes Morrison as a nonviolent advocate of peace. Thus when he relays such incidents of Morrison getting into a brawl with Chicano low-riders or whacking a woman with a board, he dismisses this as the actions of 'Jimbo.'...Jim would never do such things.

I also get the feeling that Manzarek was not supportive of any artistic ventures that Morrison undertook independently of the Doors. He makes very brief mention of Morrison's poetry publication and, oddly I feel, offers no personal insight into this collection of works. When Morrison collaborates with several friends in the filming of a Doors documentary, Manzarek is skeptical of this artistic endeavor because only 'Jimbo' would lend his creative vision to a group of 'degenerates' who were unimpressive in film school. Manzarek also quickly dismisses Morrison's independent film project called "Highway" as a silly attempt at art... Only something 'Jimbo' would do.

I give this book 3 stars because I feel that Manzarek, unkowingly, provided deep insight into what was a very complex and often combustible relationship between himself and Morrison. It is obvious that Manzarek had great respect for Morrison as a creative genius and lots of love for him as a person. But reading between the lines I get the feeling that this relationship was not unlike that of a responsible individual and his rebellious and wayward kid brother. I also get the feeling, that like most relationships of this sort, along with the mutual love there is also a strong hint of mutual resentment.

Morrison was obviously a very complex person with many facets to his personality. One of which was a two-fisted Celtic boozer with a bit of 'good old boy' American South in his blood. And obviously those aspects of Morrison were (and still are) very difficult for Manzarek to accept. Thus he picks and chooses the traits of Morrison that he himself feels an artist should convey and attributes those to a man he loves and respects called 'Jim.' But any Morrison traits that do not neatly fit into Manzarek's own ideals of who a poet should be, he easily dismisses and attributes these to a man whom he resented and could not understand, called 'Jimbo.'
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