Getting It Done: Last Week in D.I.Y. and Independent Musician NewsLast week, our D.I.Y. tips and independent musician news covered how artist get the most from Spotify Wrapped, Apple Music adding Set Lists via Bandsintown, and more…
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REWIND: New Music Industry’s Week in ReviewA busy week by any definition and the music industry was no exception, Apple Music added Set Lists, Live Nation under fire, with the slow revival of indie sleeze, a. Continue reading
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Kubernik: The Doors 60th Anniversary, Record Store Day Releases
Photo of Jim Morrison by Henry Diltz, Courtesy of Gary Strobl at the Diltz Archive. 

Photo of Harvey Kubernik and Ray Manzarek by Heather Harris. 

All other images courtesy of Rhino. 

   In November, the Doors will kick off the 2025 60th Anniversary with a new anniversary logo, a series of physical releases, and anthology book, and much more to come. 

The Doors 1967-1971 6-LP set will arrive as the latest installment in Rhino’s acclaimed High Fidelity audiophile vinyl series on November 22nd, featuring all six of the band’s original studio albums cut from the original analog master tapes by Kevin Gray at Cohearant Audio. The vinyl was pressed at Optimal Media and the box includes a heavyweight gatefold jacket featuring rare photos and liner notes by Doors archivist David Dutkowski. Only 3,000 copies of the limited-edition set will be available exclusively at thedoors.com and rhino.com.

   Additionally, for Record Store Day’s Black Friday on November 29th, The Doors will release The Doors – Live in Detroit, featuring the band’s performance from the Cobo Arena in Detroit, Michigan on May 8, 1970. This 4-LP set will be available on vinyl for the first time. 

Captured on tape during the band's 1970 US tour, it was one of the band's longest performances. In fact, the band played for an hour past curfew and were then banned from the Cobo Arena on future tours. The fiery set includes a number of Blues covers, including "Back Door Man," Junior Parker's "Mystery Train," and "Crossroads" by Robert Johnson. The Doors also tear through a 17-minute-plus version of "The End," as well as an over 19-minute version of "Light My Fire" and other rare tracks such as "Love Hides." This collection captures the band at their absolute zenith.

   The Doors’ eponymous debut album - which the BBC and Rolling Stone have each hailed as one of the greatest debuts of all time - released in January 1967 and features the chart-topping smash-hit “Light My Fire,” the bluesy, growling “Back Door Man” and seminal live-set showstopper “The End,” with its legendary Oedipal spoken word section. 

   Having cemented their place in the rock pantheon and the psychedelic rock revolution, The Doors returned to the studio resulting in the anticipated follow-up, Strange Days, which went to number three on the US Billboard 200 and featured “Love Me Two Times” and “People Are Strange.”

   In 1968, the band released Waiting for the Sun, their first number one album featuring the chart-topping single “Hello, I Love You,” along with “Love Street” and “Five to One.” 

   The Doors then dove further into uncharted psychedelic territory with 1969’s string and horn-laden album The Soft Parade, which included the Krieger-penned hit “Touch Me.”

   1970’s Morrison Hotel,which boasts fan favorites “Roadhouse Blues” and “Peace Frog,” took the band back to its bluesy roots. 1971’s L.A.Woman, the band’s final album with Morrison and recorded in the band’s rehearsal space, features “Riders on the Storm,” “Love Her Madly” and the title track.

   During their brief time together, The Doors delivered six studio albums before Morrison’s untimely death in Paris in 1971. Their electrifying achievements in the studio and onstage remain unmatched in the annals of rock, and today they remain as one of the best-selling bands of all time with over 100 million records sold worldwide. 

   In 1993 the band was inducted into the Rock and Roll Hall of Fame. Several years later, the songs “Light My Fire” and “Riders on the Storm” along with The Doors’ debut album were inducted into the Grammy Hall of Fame. The Library of Congress also recognized the band, selecting their self-titled album for inclusion in the National Recording Registry in 2014. The Doors also received a Grammy Lifetime Achievement Award and a Star on the Hollywood Walk of Fame in 2007.

Created to commemorate the upcoming 60th anniversary, The Doors’ first-ever complete anthology book Night Divides the Day will illuminate the band’s archives like never before with rare photography, intimate interviews with Robby Krieger and John Densmore, and meticulously sourced archival text from Jim Morrison and Ray Manzarek. With unlimited access granted by the band, Night Divides the Day includes a unique collection of historical ephemera – including childhood photos, song lyrics, poster artwork, movie stills, and much more – which adds context to the wealth of rare photography that documents the band’s musical odyssey.

   Joining Robby and John are a host of contributors, with a foreword by Nirvana bassist Krist Novoselic, and afterword by maestro Gustavo Dudamel. The anthology is presented in a limited-edition of only 2,000 numbered box sets, each hand-signed by Densmore and Krieger. Each set includes the 344-page signed edition, a 7” vinyl record with rare demos of “Hello, I Love You” and “Moonlight Drive,” and other assorted historical memorabilia. Available for pre-order now.

I went to a Doors concert at the Fabulous Forum in Inglewood, California, on December 14, 1968.

     On the bill were Jerry Lee Lewis, Sweetwater, and Tzon Yen Luie, who performed with a Chinese stringed instrument, the pipa. I am still recovering from that rendition of “Celebration of the Lizard,” and the Doors performing with a string and brass section with Curtis Amy.   

    In 1973 I coordinated two accredited upper-division English and music curriculum courses conducted by Dr. James L. Wheeler, assistant professor in the School of Literature at California State University, San Diego. A story in the April 14, 1973, issue of Billboard magazine reported the department’s academic aim as “the world’s first university level rock studies program.”  I placed Jim Morrison’s The Lords and the New Creatures on the required book list.

    Ray Manzarek heard about our classes and was very complimentary about students seriously studying Jim as a poet, along with the musical works of Jimi Hendrix, Bob Dylan, the Rolling Stones, the Impressions, Leonard Cohen, The Band, Jefferson Airplane, the Beatles, Donovan, and Laura Nyro.

    One evening, Ray and associate Danny Sugerman made arrangements for me to screen the existing print of Jim Morrison’s Feast of Friends movie on campus.

      Ray penned the Foreword to my 2009 book Canyon of Dreams: The Magic and the Music of Laurel Canyon.  

     “I knew Jim was a great poet, Manzarek told me in 20004. "That’s why we put the band together in the first place. It was going to be poetry together with rock ‘n’ roll.  Not like poetry and jazz. Or like it, it was poetry and jazz from the ‘50s, except we were doing poetry and rock ‘n’ roll. And our version of rock ‘n’ roll was whatever you could bring to the table. I loved his poetry. The fact that he was doing ecological poetry. But don’t forget in late 1967, and the potheads were aware. That’s what was so great about marijuana opening the doors of perception. The pot heads were the first mass ecological movement. I hope they continue on and continue it into future because it’s our obligation to save the planet.  We were working in the future space. And many things have come to fruition that Jim Morrison wrote about.” 

       In 2016, I spoke with Robby Krieger.  

       ‘“Wild Child’ from The Soft Parade is one of my favorites because it’s live. That one didn’t need strings or horns.

    “When we did the first Doors’ album Jim was totally un-experienced in the studio as far as recording his vocals. He had a year with his voice playing live every night. He had never done anything in the studio. And I think by the time The Soft Parade came around his voice had matured a lot as far as low notes and range. I don’t think he could have sung ‘Touch Me’ nearly as good if that was on our first album.”

Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015's Every Body Knows: Leonard Cohen, 2016's Heart of Gold Neil Young and 2017's 1967: A Complete Rock Music History of the Summer of Love.       Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble. 

   Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters.

   He is currently writing a book Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll Television Moments) for 2025 publication.    

        Kubernik is in several book anthologies, most notably, The Rolling Stone Book Of The Beats and Drinking With Bukowski.   Harvey wrote the liner notes to CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.  

  During 2006 Harvey spoke at the special hearings initiated by The Library of Congress held in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 Kubernik appeared at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their heralded Distinguished Speakers Series.The post Kubernik: The Doors 60th Anniversary, Record Store Day Releases first appeared on Music Connection Magazine.

PJ Harvey Welcomes L.A. Into Her WorldPhotos by Natalie Somekh

Sometimes a concert is more than a concert. Yes, it's easy to get heavy with the grandiosity at moments like this, to engage in music-critic-bullshittery and word-salad-wankery. But an evening with PJ Harvey really is a very special affair. Not since this writer saw Leonard Cohen over a decade ago has an artist had the ability to fully transport the audience into their artistic vision. No crazy pyro or props; rather, Harvey's methods are musical, enhanced by subtle lighting and smoke. Her words and melodies, movements and musicality, carry us away with her.

That's massively because of the first part of the set, which sees Harvey perform last year's I Inside the Old Year Dying album in its entirety. Despite the critical praise that was heaped upon the album, it still feels like to crept under the radar a little, at least in terms of mainstream acceptance. Because the album is a masterpiece. Elements of folk and classical music interweave with prog rock and the '90s alternative rock scene that she emerged from three decades ago. It's a whirly-spin of emotions, Shakespearean in its tail-flick from tragedy to calm.

So her sound has as much to do with Vivaldi, the Fairport Convention and Clannad as it does Tori Amos or any of her other contemporaries. It fully immerses itself in a grounded-yet-fantastical old world that Taylor Swift drove at with Folklore and Evermore, Melanie Martinez with Portals. Harvey's fans may balk at those comparisons, but they shouldn't. Despite Swift's and Martinez's clear desire to stretch limbs and explore these new worlds, there's the nagging feeling that they're still beholden to "pop" -- that something is holding them back. PJ Harvey doesn't have these issues.

Perhaps it's telling that I Inside the Old Year Dying is her first album on an independent label (Partisan) since her Dry debut in '92. She's only answering to herself. Then again, that might be a touch unfair; it's not as if the eight albums she released on Island/Universal felt hampered by corporate influences. She's really always played the game her way anyway.

To pick out tracks from the new album performed in the first part of the set would be a redundant exercise. The whole thing flows so beautifully, orchestrally, peaking and troughing as we find ourselves floating on a carpet of Harvey's words. Surrounded by the trees up at the Greek Theatre, it's hard to imagine a more appropriate venue for this music (maybe Red Rocks in Denver).

The second part of the set began with the folk-stomp of "The Colour of the Earth" from 2011's Let England Shake, Harvey letting her band run through that one without her. She reemerged for "The Glorious Land" and "The Words That Maketh Murder" from the same album, then she pulled out the classic "50ft Queenie" from 1993's sophomore, Steve Albini-produced Rid of Me. That song injected some welcome crunch into the evening, highlighting the dynamics that Harvey is capable of.

We also get "Dress" from Dry, and three songs from 1995's incredible To Bring You My Love. When the end comes, the vibe from the audience is one of waking from a dream. Somehow, we all have to give our heads a shake and find our way home. But this is an experience that will live with us for some time to come.

The post PJ Harvey Welcomes L.A. Into Her World first appeared on Music Connection Magazine.

Universal makes big move in China’s hip-hop scene, inking deal to distribute artists from ‘The Rap Of China’All upcoming songs from the latest season's artists will be distributed globally under UMG
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How to Stand Out on Spotify Wrapped 2024: A Musicians GuideSpotify has signaled that its 2024 Wrapped will launch soon. This guide on How to Stand Out on Spotify Wrapped 2024 offers a simple roadmap for every musician to become part of this global music phenomenon.
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Don’t miss Music Tectonics’ Creator Fair: Get $25 Discount Tickets NowNext week's popular Music Tectonics Conference has added a companion Music Tectonics Creator Fair on Oct 23rd in Santa Monica.
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From UMG’s [PIAS] buyout to Concord’s $217m Daddy Yankee deal… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
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Beginner’s Guide to Music PublishingIf you've made some music and now you're looking for the next steps, you've come to the right place. This guide covers what music publishing is and the significant role it will play into your music success.
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Litmus Music Enters Creative Partnership with Randy Newman on Recorded Music Royalties and Music Publishing RightsLitmus Music, a music rights business backed by Carlyle’s (NASDAQ: CG) Global Credit Platform, has acquired Randy Newman’s share of his recorded music and publishing, encompassing the scores to timeless and beloved Disney film franchises such as Toy Story, Cars, Monsters Inc., and The Princess and the Frog. The deal also includes Newman’s hits from the 1970s-1980s such as “I Love L.A.,” “Mama Told Me Not To Come,” “Feels Like Home,” “You Can Leave Your Hat On,” “Short People,” “Baltimore,” and “It’s A Jungle Out There”

The catalog includes Toy Story’s “You’ve Got A Friend In Me,” which has become more than just a soundtrack to a beloved film; it has evolved into a universal symbol of friendship solidifying its place in contemporary culture.

Following high-profile deals with Katy Perry, benny blanco, and Keith Urban, this partnership with Newman further solidifies Litmus’s commitment to preserving and promoting iconic catalogs that resonate across generations. Having operated at the highest levels of the music industry, Litmus’ founding members have collectively fostered deep connections to record labels, distributors, artist managers, and the artists themselves, with a mission to create value for artists and investors through the thoughtful management of music.

“Randy Newman is a unique and brilliant songwriter, composer, and performer whose body of work has proven him to be an artist for the ages. There is absolutely no one like him, and his influence on the music world cannot be overstated. We couldn’t be more proud and excited to acquire Randy’s catalog of beautiful, witty, and sharply observational songs,” said Dan McCarroll, Co-Founder and Chief Creative Officer of Litmus Music.

“Randy’s music has touched so many generations. His songs continue to transcend time and illuminate films. Dan and I and the entire Litmus team are so grateful Randy has trusted us as his partner to care for these songs and recordings. It is an honor and responsibility we don’t take lightly,” added Hank Forsyth, Co-Founder and Chief Executive Officer of Litmus Music.

“Randy Newman’s music has been a staple of childhood memories and experiences for decades,” said Alex Popov, Head of Private Credit at Carlyle. “Litmus Music continues to partner with the world’s leading artists to promote and drive value for iconic catalogs.”

With songs that run the gamut from heartbreaking to satirical and a host of unforgettable film scores, Randy Newman has used his many talents to create musical masterpieces widely recognized by generations of audiences.

After starting his songwriting career as a teenager, Newman launched into recording as a singer and pianist in 1968 with his self-titled album Randy Newman. Throughout the 1970s, 80s, and 90s he released several acclaimed albums such as: 12 Songs, Sail Away, Good Old Boys, Little Criminals, Born Again, Trouble in Paradise, Land of Dreams, and Bad Love. Since 2003, he has released three Randy Newman Songbook volumes, the Randy Newman: Live in London CD/DVD, Harps and Angels, and Dark Matter.

In addition to his solo recordings and regular international touring, Newman began composing and scoring for films in the 1980s. The list of movies he has worked on includes The Natural, Awakenings, Ragtime, all four Toy Story pictures, Monsters Inc. and Monsters University, Seabiscuit, James and the Giant Peach, A Bug’s Life, Meyerowitz Stories, and Marriage Story. Randy Newman’s many honors include seven Grammys, three Emmys, and two Academy Awards, as well as a star on the Hollywood Walk of Fame. He is in both the Songwriters Hall of Fame and the Rock and Roll Hall of Fame and has been awarded an Ivor Novello PRS for Music Special International Award as well as a PEN New England Song Lyrics of Literary Excellence Award.

Photo by Pamela SpringsteenThe post Litmus Music Enters Creative Partnership with Randy Newman on Recorded Music Royalties and Music Publishing Rights first appeared on Music Connection Magazine.

HYBE’s Weverse to launch new superfan subscription tiers… and keep up to 60% of the moneyWeverse will reportedly take up to 60% of the revenue generated on its new paid membership service
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Apple Music adds Set Lists, expands concert discovery with BandsintownApple Music has launched a feature that lets artists to turn concert setlists into playlists. Apple Music For Artists’ Set List integrates with Bandsintown to create tour-related playlists and increase concert discovery.
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2 Live Crew can take back recorded music copyrights from ex-label, jury rulesLawyers for the current owner of 2 Live Crew's copyrights have filed to overturn the jury's decision
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Understanding Music Publishing Rights: A Comprehensive GuideUnlock how to maximize earnings as an artist or songwriter with this guide to understanding music publishing rights. It breaks down everything you need to know to protect your work and profit from your creations.
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Music City San Francisco Epicenter and Artist Accelerator opensMusic City San Francisco Epicenter is opening this weekend, bringing new opportunities for musicians and creatives. Learn how this new hub will impact local and national music scenes.
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