The Doors, And The Big Money of Classic Rock Song Licensing

It seems that most of my friends are at one extreme or the other with The Doors. But, love ‘em or hate ‘em, they generated legends, rumors, and imitators. The Doors remain a staple on Classic Rock radio, and their back catalogue is among the most coveted in the field of music licensing.

At the suggestion of fellow music law blogger Trip Aldredge, I recently read “The Doors Unhinged” by John Densmore, the Doors’ drummer. If you’re a fan (like me) it contains some great background on the band, its early days, etc. It also provides an interesting insight into the world of band partnership agreements and the big money of classic rock synch licensing in film and commercials. And lawsuits, too.

The book focuses on the falling out between surviving band members. In conjunction with the estate of Jim Morrison, John Densmore filed suit against Ray Manzarek and Robbie Kreiger, challenging Manzarek and Kreiger’s right to bill themselves as The Doors. Concert posters used a logo and type font associated with the band’s LP jackets. Advertisements and in-concert screen projections featured images of Jim Morrison. When Densmore and the Morrison estate objected, the parties agreed to use of the name The Doors Of The 21^st Century, only to see “Of The 21^st Century” buried in microscopic font. As The Doors, Manzarek and Kreiger (joined by Stewart Copeland and Ian Astbury) were pulling down up to $195,000 a night.

Here is where it gets interesting. When Densmore and the estate sued, Manzarek and Kreiger counter-claimed for $40 Million Dollars, based on Densmore’s refusal to authorize licensing of The Doors’ music in TV commercials. Do you remember the Cadillac ads a few years ago with the music of Led Zeppelin? The Doors were approached first. Cadillac eventually offered $15 Million Dollars. Manzarek helped organize the proposed deal, Kreiger was inclined to give approval, but Densmore emphatically vetoed the idea.

The original partnership agreement among the Doors, and subsequent publishing administration deals, uniquely granted veto power to any of the four partners. The band did one commercial early on, and Densmore regretted it. A later offer from Opel cars was angrily rejected by Morrison, and almost broke up the band. Densmore felt differently about film projects. For example, The Doors made $5 Million Dollars licensing music for the movie “Forrest Gump,” not to mention a tremendous increase in back catalogue sales after the film came out.

In justifying his position against TV commercials, Densmore argues that he is protecting the integrity of the catalogue, and thereby safe-guarding the band’s financial position in the long run, not to mention saving his soul. In the book, he points to folks like Tom Waits and Neil Young as shining examples. Densmore also tithes a set percentage of his income to charity each year. In short, he appears to be one guy with 1960s ideals still intact. If you are interested in the business of music, classic rock, or anyone who has the balls to turn down $15 Million Dollars, you should enjoy “The Doors Unhinged” (Percussive Press).