Mojo Risin: An Interview
On March 6th,2004, Mojo Risin was tops at Pops, a well-known club in Sauget, Illinois (Just minutes from St. Louis, Missouri). Tribal Soul Kitchen Reviewer Greg DeClue was fortunate to see and hear the Doors tribute band up close and personal.
It's my pleasure to have received a CD of the same performance from vocalist Scott Mattocks and to follow up with an interview with the band.
Mojo Risin certainly doesn't just mimic a set of "studio versions" of Doors songs (visit their website for a fascinating and organized overview of the band's philosophy and technique) I had to keep reminding myself I was listening to a tribute band. Like the audience at Pops, I couldn't keep from singing along and being swept off on Mojo Risin's "trip".
The overall Doors effect is of course due to the combined artistry of an excellent vocalist (Scott Mattocks) and three genuinely phenomenal musicians: Justin Johnson (guitar), Steve Zavesky (drums), Mark Jamieson (organ, piano bass). My emotions were stirred big time! The instrumental re-creation and beyond of the personality and immortal style of Ray Manzarek, Robbie Krieger, and John Densmore left me in open-mouthed awe.
St. Louis had quite a treat. Scott's recitation of "The Celebration of the Lizard" introduced "Not to Touch the Earth", an exceptional rendition (I could feel the drums). The "Grave-yard Poem" was featured during "Light My Fire". The extended version of "Break On Through" was absolutely thrilling. "Gloria" was a bawdy brawl and "Wild Child" appropriately ecstatic. "5 to 1" was also a stand-out for me. Needless to say, it put a big smile on my face when the whole shebang ended with "Soul Kitchen".....
This brings us back to Scott Mattocks, a charismatic magician who tackles a monumental challenge and pulls it off. He captures the "spell" of Jim Morrison, "plays" his voice and the audience like an instrument. Within the wide repertoire of Mojo Risin's songs, Scott's a word-man spinning a web of moods. "The End" begins as a shamanistic prayer, building to a rabid and raw crescendo. He captures Jim's grit and growl, then stirs the cauldron with sultry purrs, lewd laughter, and a running interplay with the enthusiastic crowd. The timing of this particular gig evidently inspired several hilarious references to Martha Stewart *L*.....
Jane: Hello Mojo Risin!
First of all, I have to say that listening to the CD was a mixed blessing. I enjoyed it immensely (goosebumps and the hair on my arms rose many times, and that's a good barometer!) But it salted the wound of not having attended the concert myself. I blew my first chance. I assure you I'll do my damndest to catch your next appearance!
Scott (Vocals)
Hey I am glad you got the CD. That was the unedited version. I thought you might like to hear the whole thing, mistakes and craziness and all. We were really fired up and sometimes I get a little out of hand, but its all fun and the St Louis crowd was awesome.
Mark Jamieson (Organ/Piano Bass)
First off, let me thank you for your compliments regarding the St. Louis CD. It means a great deal to us that you and other people in the know get what we are trying to do. That is, bring a vintage Doors show to them. Not just to cover or play the music, but attempt to have it look, sound and feel like The Doors. The 5 to 1 on the CD, I think, is mostly based on the In Concert version, with some others mixed in. I like to look at every Doors song as a trip. You know where you are starting, and you know where you are going, but there are several different roads that you can take to get there. You start off with When the Music's Over, turn left onto the Hollywood Bowl, right at the Felt Forum, another left at the Matrix, and back onto the Hollywood Bowl. We follow our "Jim" and vamp off of each other, and you never know where Jim is gonna go.
Steve Zavesky (Drums)
As far as the version of 5 to 1: As I remember it, we would take different live versions of stuff and pull out the best parts. That song was a mixture of some live cuts. Sometimes we even include the longer ending, or longer middle part, whatever we feel like. What you miss on the recording of "Universal Soldier" is the gunshot scene with the guitar player's "gun guitar" and keyboardist with one arm raised and then....... Great theater!!
The Doors live were all about improvisation as art, and I think that's what Ray means when he says none of the tribute acts get the music right. You can play the notes but the spirit of the moment through personal and band improvisation was the Doors. Only Ray can play and improvise as Ray. Others can only attempt to improvise like Ray would. The magic is in how good they are at doing that.
Jane
The chronological history of Mojo Risin hit me as a combo of meticulous planning and a touch of serendipity. It brings me to another question. I'm curious. Who placed the ad in Scene Mag that brought you all together? Or did some of you already know each other? How about expanding a bit on the birth of the band?
Scott
When the last singer quit, Mark and Justin ran an ad in the Scene magazine for a singer and I replied. It took a while for my audition to come up, so I had some time to get ready. I knew the songs well though, because I have always loved the Doors. I already had experience singing in bands, but this was the gig I always dreamed of. To add an extra touch I went out and got the leather pants and made some beaded necklaces. So for my audition, I went in full costume and was prepared to sing most any songs. Well I found out three weeks later I got the gig. We practiced and started booking shows. About six months later the drummer had to drop out, so we asked Steve if he would join up. He is a great Densmore style drummer, so that really improved the band.
Jane
Scott, the chemistry of the present members couldn't be better, in my humble opinion. What year was this that you and Steve completed the foursome?
Scott
Actually this lineup was sealed in 2003. As a matter of fact, Steve joined full time last year in April, and as for me, it was June 2002. Steve used to be in another doors tribute band a few years earlier.
Justin Johnson (Guitar)
Editor's note: this is the complete Mojo Risin History to date, re-printed from website, with permission.
Mojo Risin was born in April 1995 in a suburban Cleveland basement when four devout Doors fans serendipitously came together for one purpose: to take the idea of a Doors tribute band further than anyone had ever thought possible.
Although only two of the members had ever met before, it was immediately obvious that we all shared two things: a fanatical devotion to The Doors, and a disappointment with the Doors tribute bands that we had seen. Maybe we expected too much, but what we saw ranged from bad to good, but not great. We saw one "Doors tribute" that used Casio synthesizers! The guitarist played a Strat with a pick! The drummer pounded heavy metal beats on a Tama drum set (in his Zildjian shirt and wristbands!) The rest of the guys wore whatever they wore to work that day! It was all blasphemy. Not to mention they didn't know the music. It was really a cover band, covering Doors music half-heartedly. How could you call this a tribute? A tribute literally means "a gift, payment, declaration, or other acknowledgment of gratitude, respect, or admiration." We thought it was nothing short of an insult to The Doors and their fans that paid hard-earned money to see this kind of debacle unfold before their eyes and ears under the "tribute" banner. Our idea was to put the literal meaning of the word "tribute" into our show and give The Doors, their music, and their fans the respect they deserve.
It was this drive to do it better that led us to pursue our dream and take it further than even we ourselves had ever imagined. So we started collecting vintage instruments, vintage amplifiers, and vintage costumes. We learned the material note-for-note. We studied videos to learn the right stage moves. We spent four months of intensive rehearsals until we thought we had it down. We were ready to gig. But what to call the group? Again, we wanted to set ourselves apart from the status quo tributes. All the other groups had taken their names from Doors songs and album titles. We wanted to call ourselves something with a little more deference to Jim. Jim used to joke with his band mates that he would someday disappear but that he would contact his friends using the pseudonym "Mr. Mojo Risin," which is an anagram of his name. He even sang these words on the title track of his swan song album, "L.A. Woman." The romantic notion that Jim may still be alive, however remote it may be, seems to be shared in some small measure by all Doors fans. "Mojo Risin" also suggests a constant push upward, a continuous striving to rise to the next level, which has always been a core philosophy of the band.
In August of '95, we played our first show to a modest crowd but got a positive response. Over the next year, we played over fifty shows at local clubs, honing our act and building our reputation. In 1997, our first web site debuted and we continued our grass roots movement to prove ourselves on the live club circuit and the hippie festival scene. In 1998, we were honored with a cover story in The Cleveland Plain Dealer's Friday Magazine, and later that year we played our first large concert club, The Odeon in downtown Cleveland, Ohio, to a cozy crowd of nearly seven hundred! At this point we knew our dedication was paying off--and from there, the gigs got even better!
There have been several personnel changes over the years, but each new member has strengthened the band even more. We have also upgraded our vintage collection of equipment to include every piece of gear The Doors actually used in their performances from 1968-1970. We have taken our show on the road from The Great Lakes to The Mississippi, and our reputation for re-creating a Doors concert in exacting detail continues to grow, as we continually strive to improve.
What's next? With the tenth anniversary of the band approaching, it occurs to us that The Doors themselves didn't make it past six years with the premature death of Mr. Morrison. Who knows what they could've accomplished if Jim had stuck around? Who knows how far a Doors tribute band can go? We don't know but we aim to find out. The doors are wide open...
Jane
I'd like to hear your opinions on opportunities in general for musicians/prospective bands in Cleveland. Has the R&R Hall of Fame helped bring fame to the otherwise "unknowns" by drawing recording label representatives, for instance?
Justin
As for the Cleveland music scene...well, there is none. Anyone who wants to make it in the biz unfortunately has to re-locate. When I was growing up my mother worked for Warner/Elektra/Atlantic (giving me free access to all The Doors albums!) which used to have a branch office in Cleveland. They have since left town and the once great WMMS which used to showcase local music is now a cookie-cutter conglomerate-owned station.
The RNR hall of fame is cool to have in the town, but it has the same effect on local artists that the natural history museum has on local dinosaur fossils. Get the drift? Having Van Goghs hanging in the local art museum doesn't seem to have any effect on local artists' careers, except as inspiration. To get the propulsion you need you have to make it for yourself. And sadly most up-and-coming young artists simply don't have the resources. All this of course leaves a vacuum to be filled by tribute bands. Cleveland may be the world capital in that regard! Maybe that's a subconscious effect of living in the city that enshrined Rock N Roll in a glass pyramid!?!
Scott
The Rockhall is really no influence for bands. Though it's great in some ways, they do all the inductions in NY, so it's just a museum of sorts.Tthey don't even have a Door's exhibit, just one for Morrison. Cleveland is alright to play, but getting out of town is better. Door's fans are great out of town, though we have a good following here as well.
Jane
This one's just for fun: one of the things I enjoyed most about the unedited live concert CD you sent me was the sometimes outrageously humorous audience/band interactions. Can any of you relate a particularly memorable unplanned "on the road" experience, be it on stage or off?
Justin
I could go on for hours, but here's one specific to the Pop's show. We traveled almost 600 miles to a city we've never been to, so we had no idea how well it would go over. In our minds during soundcheck, we imagined what the room would look like with 50 people, and with 500 people. We really didn't know which way it would go. So we soundchecked and went back to the hotel around 6pm. When we left, the club was empty. When we returned, there were hundreds of cars in the lot and droves of people lining up at the door to get in. My bandmates sent me in thru the front door so I could open the backstage door for them. I thought there was no way they could all be here for Mojo Risin. Then I noticed a bunch of people at the front of the stage...mesmerized. Mind you, this is about 45 minutes before we played. The were watching the equipment. I wouldn't have remembered this but the photographer just sent me the photos, and here it is....
We had a captive audience before we even played! So when I got backstage, I told the guys and we knew it was going to be a great show. Maybe it was the anticipation of the show or maybe they really dug the vintage stuff like we do...either way it was cool. We never got an official head count but I think conservatively it was about 1,200. The most enthusiastic crowd we've ever played to, without a doubt. I'll never forget!
Scott
Well, for me, at the Pops show in particular, right before we started doing "The End", I tossed a maraca out to the audience and it accidently landed on a poor guy's head. When I saw that I said "sorry buddy", and that ended up on the cd. So whenever I hear that, I'll always remember that in my mind. It's kind of like slow motion.
Jane
Here's the tough one. The Doors are notorious for setting off controversy, from the beginning to present. Their "re-incarnation" as the 21st Century Doors has spurred fierce division, even litigation imposed by John Densmore and Jim and Pam's families. And instead of the usual Doors fans versus The World, this time it's fans versus fans. It appears most of us are either totally enraptured by the 21st Century Doors or totally turned off. Can you guys share with the zine readers your candid reactions to this on-going phenomenon?
Scott:
Um, your question is one we get asked a lot. I think, I know personally that no one could ever replace Jim and I don't think that Ray and Robby were trying to, though my hat is off to the great Ian Astbury. I have always liked all his Cult years.
And we got the opportunity to check out the 21st Century Doors last summer (the pictures of the Hard Rock Café that I sent you were from the pre-concert party we did the day before the show). I thought the show was very exciting but it also made me sad that Densmore did not want to participate, which left a major cog out of the wheel. I wish that everyone would get along. I don't know if the tour was a money thing or Ray and Robby played for the love of their great music.
No, it was not the same without Jim. But in a great way it keeps the music alive and the spirit of Jim engraved in everyone's hearts. I hear a lot of negative things, like for instance a local DJ said to me that he would rather see a Doors Tribute than the 21st Century Doors, but I think a lot of controversy is money. I tend to believe in keeping the spirit alive. And like I said, I think Ian is fantastic. But Jim Is the God. I think everyone, through controversy or playing the music and the continuous greatest hits albums, is bringing the music and Jim Morrison alive. To me the music is not over.
Mark
I believe it is a real testament to the Doors that people's reactions are so strong. Fans have such a personal connection to the music that they feel in some way it belongs to them, it is a part of them. As we know people in general either love the Doors, or hate them (say it isn't so). And now even in the love category we have the same love/hate of the current incarnation of the band. I can see where both sides are coming from, but let's be realistic. The Doors were still "The Doors" for 2 whole albums immediately after Jim died. We know it wasn't quite the same, but they were the Doors. The Butts Band and Nite City, were definitely not the Doors by any stretch. But The Doors of the 21st Century are "the Doors." I personally had been waiting to hear that announcement for years. To come back after so much time and anticipation was great. I believe that they gave/give the fans exactly what they wanted...to be a part of the music again. I'd much rather get a chance to hear the songs, and be part of that experience, than sit at home, arms crossed in some sort of protest. It isn't Jim Morrison and the Doors. Jim tried to put a stop to that as soon as it began. Manzarek and Kreiger are a very huge part of "the Doors." Any nay sayers missed a great show, a great experience.
Sorry if the answer is sort of rambling. It is a topic I feel very strongly about. It is difficult for me to put into words the feelings that question gives me. I want to be as adamant as I can without breaking into name-calling of the selfish people who would rather stop Manzarek and Kreiger from doing what they do best. People who think Jim was the Doors piss me off. There was always killer music behind those inspired words. But that's the difference between a true Doors fan and a Morrison fan.
Steve
I think the 21st century Doors are perfectly valid since it's been a long time since Ray and Robbie have done an extended Doors music setting besides Storytellers. Storytellers, with all three surviving members, was great. The Doors were a band and the term band is parts pulled together. I may be wrong, but I remember reading that they would all get very upset (including Jim) when they were billed as "Jim Morrison and the Doors". They didn't think that way then and today I think they still don't see themselves as Jim's backing band.
I do agree, legal issues or not, that it was a great idea to call themselves Doors of the 21st century (although it could be Doors to the 21st century and beyond) since John did not decide to do the tour. (The reasons don't matter. They are his own personal reasons and he can do whatever he wants without taking criticism.) With only half the original band it's just not the same and John was an integral part of that band. So it is like a new band, but it is still Ray and Robbie playing the music they wrote and performed for the fans.
It's great that they can keep the music and the spirit of the band (and of Jim) alive and pay homage to themselves and the great music and words. It gives all the fans the opportunity to re-live, and new fans the joy of discovering the timeless music of the Doors. The Doors live
Justin
I saw D21C in Cleveland and thoroughly enjoyed the show for what it was. The operative here is for what it was. Any fan who goes to the show expecting to see The Doors as they were in 1969 is bound to be disappointed. However, if you dig Ray & Robby, and the great music of The Doors, then it's definitely a treat.
As for all the controversy, it would be more legitimate with Densmore behind the drums, but even if the Lizard King himself popped out of an underground hole and announced he'd been hiding all these years and indeed alive and took his place at the microphone--there would still be some disappointed fans. You have to enjoy it for what it is. And I did!
Notwithstanding a Doors reunion complete with John (And Jim), this is the next best thing. If nothing else, it's great to see Ray & Robby playing together again. There is definitely a chemistry, both musically and personally, between the two. And even 35 years later, these guys can ROCK!
The biggest controversy seems to be surrounding Ian Astbury as lead singer. I have been a Cult fan since the late '80s so I already dig Ian. But as the singer of The Doors? If the VH1 Storytellers special was the 'audition' then he definitely wouldn't have been my first choice...maybe third after Scott Weiland and Patrick Monahan....but I guess they weren't available? Anyway I don't like the notion of the singer having to emulate/look like Jim. Sounds ironic coming from a Doors tribute band, no? Well I think D21C should be more like The Doors and less like a Doors tribute band, after all, they're The Doors (sort of). Jim was about being an original so Ian should be, too, while staying true to the music. Leave the tributes to us tribute bands :)
I was also hoping he might slip in a Cult tune....
Overall, I would give the concert an 8/10. On the down side, the new material debuted at the show was weak, especially when compared with the power of the Doors' classics. Ray's playing was great but I still don't understand his unnecessary use of cheesy synthesizers these days. Robby was also hot, but he was much better when he came to town with his own band. That show was 11/10! But as I said, I was thrilled just to see them play and I would definitely see D21C again, in a heartbeat.
Jane
Thank you, Mojo Risin, for an eye opening interview. Also, for sending me a DVD in addition to the Pops CD. I got the opportunity to see it after finishing my comments on the CD, and it was wonderful to get the visual impact, although the pictures I already had in my mind were a near match! Dancing and wild abandon galore. A natural reaction to the band's fantastic stage presence...
Photo Credits: Photo of Mojo Risin in concert at top of page was taken by Greg DeClue. All other photographs are used with permission from Mojo Risin,
