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“They became successful and became ridiculous”: The late 1970s band Ray Manzarek could never work with
Ray Manzarek built a reputation as both an influential keyboardist and a sought-after producer in the years following The Doors' dissolution. His innovative organ work had defined much of the band's signature sound, and by the late 1970s he was in demand to work with emerging acts. When the opportunity arose to produce The Knack, an up-and-coming rock band with several accomplished musicians, Manzarek initially considered the project and maintained personal respect for individual members including drummer Bruce Gary and guitarist Doug Fieger.
However, as The Knack gained commercial success, Manzarek observed what he perceived as a transformation in the band's public image and artistic approach. He ultimately withdrew from the production opportunity, expressing disappointment that the musicians had adopted what he termed a contrived "schtick" and become what he described as ridiculous once fame arrived. Manzarek's reluctance highlighted a tension between authentic musicianship and the manufactured personas that often accompany commercial success in the rock music industry.
In short
- Ray Manzarek, the renowned Doors keyboardist and producer, declined an opportunity to produce The Knack in the late 1970s
- After initially respecting the band's musicianship, Manzarek stepped away when they achieved commercial success and developed what he viewed as an artificial, off-putting public persona
- In a 1998 interview, Manzarek expressed frustration that the band members had transformed from genuine musicians into caricatures of themselves
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Artists should prioritise genuine creative expression over commercial calculation. When successful musicians adopt calculated personas or contrived approaches to maintain fame, they often abandon the authentic musical vision that originally attracted audiences. The tension between commercial demands and artistic integrity is real, and principled artists are right to be sceptical of peers who visibly compromise their artistic values in pursuit of broader market appeal.
The case against
Musical success naturally involves adaptation, public persona development, and evolution of artistic approach—these are not necessarily inauthentic or ridiculous. What Manzarek interpreted as manufactured artifice might have been The Knack authentically pursuing different creative directions or connecting with a broader audience. Artists deserve the freedom to reinvent themselves, appeal to commercial markets, and explore different public identities without being judged as having betrayed their craft simply for achieving success.
Explained simply
Ray Manzarek was the keyboardist for The Doors, an influential rock band from the 1960s. After the band ended, Manzarek became an in-demand producer known for his distinctive keyboard work. In the late 1970s, he was approached to produce The Knack, a rising rock band with accomplished musicians including guitarist Doug Fieger and drummer Bruce Gary.
Manzarek initially respected the individual band members and considered taking on the project. However, as The Knack became commercially successful, he felt the band had changed course, adopting what he viewed as a contrived public image rather than maintaining genuine musicianship. He ultimately declined the producer role, expressing disappointment that the musicians appeared to have prioritised commercial appeal over artistic authenticity.
The situation reflects a broader challenge in rock music: the tension between artistic development and commercial pressures. For Manzarek, the band's shift in direction and image was significant enough to override his respect for their musicianship and his professional interest in working with them.