much fun. Jim’s onstage spontaneity was a
big part of the Doors live experience. The
audiences were very cool about it, though.
We took along another guitar player named
Bobby Raye, a friend of ours from LA, and a
bass player named Big Jack Conrad—the first
time we ever had a bass player onstage.
If you could talk to Jim again, what would
you say to him?
Look what you’re doing to yourself and the
band. Look how you’ve fucked yourself up.
You’ve wasted your life. You couldn’t tell Jim
anything; he did what he wanted.
I understand you have a solo album
coming out soon.
It’s all instrumental and titled Singularity.
It’s been finished for a while, but we had to
find a good label to release it. It’s on a small
label called Oglio Records that’s mostly
known for doing comedy records. There’s
flamenco and jazz on there and lots of guitar. It’ll be out soon.
How would you define good guitar tone?
Good tone is when your mother hears you on the radio
and recognizes you! It doesn’t matter what guitars and
amps you use when you come down to it. As long as your
mother knows it’s you on the radio, that’s all that matters.
Any words of Krieger wisdom for our readers?
Try to find a style you like that’s the most fun
and work on that. Try to use as many guitars
as you can to get different sounds.
One last question: When I saw the Doors
on TV playing “Touch Me,” you had a huge
black eye. What happened?
I had a fight with Jim and he hit me. You’ll
have to read my book to find out what happened. I’m writing it myself and it’ll be done
sometime soon. Ray and John both wrote
their own books about the Doors, so I figured
I should write one too.
1967 Gibson SG Standard
2009 Gibson Robby Krieger Signature
1975 Gibson SG Special
1964 and 1967 Gibson ES-355s
1963 José Ramírez classical
Two Fender Hot Rod DeVilles with 2x12
or 4x10 speaker cabinets
Effects: Boss ME- 10
PREMIER GUITAR MARCH 2010 95