Die Kritiker sind sich einig: The Back Doors Man sind Europas beste Doors Tribute Band...
Überblick:
Gründung 1992
- 1992 - 1998 mehr als 200 Konzerte in Deutschland und Niederlande
u.a. Jovel-Music Hall (Münster); Live-Station (Dortmund); Hirsch (Nürnberg); Lagerhalle (Osnabrück)
Hunsrückhalle; Jazz Galerie (Bonn) Musiktheater Bad (Hannover); OLD Daddy (Haltern); Fabrik (Coesfeld)
Doors-Fan-Club Meeting; diverse Festivals ...
- 1998 - 2005 Pause; diverse Projekte
- ab 2006 - the Show goes on ....
Hier Fotos und Kritik UNDER-THE-BRIDGE Festival in Arnsberg am 21.07.2006
THE BACK DOORS MAN - Info -
[…] Der Narr hält sich den Spiegel vor' s Antlitz und die Uhr lässt sich nur für Bruchteile zurückdrehen. Doch dies alles kann geschehen, wenn WER den magischen Schlüssel besitzt.
Ein Tipp :
The Back Doors Man schaffen es wie keine andere Band unserer Tage die Gefühle der Unsterblichkeit, zumindest für die Dauer ihres Auftrittes, zu vermitteln.
Eine Reise durch das Songbuch der wohl richtungsweisensten Band der späten Sechziger Jahre. Es wäre Blasphemie zu behaupten, dass sie eine Revivalband wären die sich an die Sporen der DOORS hängt. Sie haben letztendlich nur bewiesen, dass sie einen exzellenten Geschmack haben und das Stigma leider darin liegt zur falschen Zeit geboren worden zu sein.
Dass sie nicht zur falschen Zeit am falschen Ort sind können nur Sie, die jeweiligen Promoter verhindern. Es wird ein Konzert ohne Reue oder wehmütige Rückschau. Das Charisma ist gegeben, leihen sie nun dieser Band ihre Aufmerksamkeit und Ohren und es kann uneingeschränkt versprochen werden, das die Musik die Mauern der Städte zum Erzittern bringt ……… und wenn die Musik zu Ende ist, löschen Sie bitte das Licht.
Tom Klatt (ZYX-Music)
Rheinische Post 23.04.2007:
Jazz Galerie Bonn:
Westfälische Rundschau:
WAZ:
THE BACK DOORS MAN
[ ... ] you can turn back the clock for split seconds only. But all this can only happen if somebody has the magical key. The Back Doors Man manage to convey the feelings of immortality, at least for as long as their gig lasts, like no other band these days. A journey through the songbook of the band that was probably pointing the way ahead like no other band in the late '60s. It would be blasphemy to claim that they were a revival-band that merely dings to the fame of The Doors. At long last they have proved to possess excellent taste. The stigma lies merely in being born at the wrong time. Only you, the promoters, can prevent them from being at the wrong place at the wrong time. The concert will be without remorse and without nostalgic reflections. Charisma is there, lend the band your attention and a willing ear now; and when the music is over, please turn out the light."
(Tom Klatt, ZYX-Music)
,,800 fans saw expressive show in the Old Daddy - Genuine or fake Doors? -
On Sunday night about 800 music fans of all age-groups and from all over the
With the very first song 'Not to touch the earth' the audience was infected. The following two and a half hours were an excellent showcase of Doors-music that could not be improved.
Songs like 'Break on through' or 'LA Woman' livened up the atmosphere to a peak, while a good many fans went all goose-pimply during the ten-minute-version of 'The End'. The most
expressive act of the evening was the staged execution of the charismatic singer during the
anti-war hymn 'Unknown Soldier'. When the audience still did not have enough after numerous encores, the band performed 'Light my Fire' another time. The Back Doors Man played the music of The Doors so perfectly that even dyed-in-the-wool fans could hardly hear any differences to the original."
(Ruhr-Nachrichten)
"At 9 o'clock the impressive start. The music from the tape stops, the light goes out. Dramatic sounds from Orff`s Carmina Burana silence the audience, drifts of fog disguise the stage on which the band starts their gig with 'Not to Touch the Earth'. [ ... ] In the course of the concert The Back Doors Man venture to tackle also 'I looked at you' and 'Riders on the Storm'. The first of the furiously demanded encores is 'The Roadhouse Blues' and 'Gloria'. followed by 'The End', the third encore is the long version of 'Light my Fire'. After more than two hours and more than twenty songs the lights go out for good. [ ... ] One is enthusiastic about the impressive musicality and involvement of The Back Doors Man. The audience are easily infected."
(the doors quarterly magazine no.30)
"One year ago The Back Doors Man were here on a club tour. Now they have come back and as far as I could find out listening to some of the fans talking at least half of the more than 900 people who joined the concert must have seen them several times before. [ ... ] After the show I was lucky to catch apart of a conversation: Two young girls - dressed in '60s-like clothing and with eyes that were mysteriously rolling - talked to a member of the band. One of them said: 'The time that Jim died he gave his voice to your singer.' At first the guy seemed to be startled, then he smiled but he did not say a word. Later I asked him 'What do you think about remarks like this?' And he answered: 'Now we have become part of the myth. It's no delusion. It's really alive. '"
(Hunsrücker Bote)
(Excerpts of an interview:)
"Well, you cannot cover The Doors by simply copying every single note. You have to drink yourself into the songs and this is not a matter of learning them by heart - it is a question of your feeling, a matter of soul. Otherwise it is not possible to play songs like 'When the Music's over' and 'The End'. [ ... ] If we are on stage there is this - let's say - kind of mutual fascination. There are sixteen-year-old teens and there are people in their forties. The gigs are no performance, they are a party we celebrate - the band and the audience together. The younger ones have the chance to get a live-experience of something they only know through the media and the older people see their memories become alive for two hours of music and dance. And sometimes we even get the, impression that there is no audience at all but a gigantic choir of hundreds of throats celebrating the music and themselves in an ecstatic way. [ ... ] There has not been a single gig when we haven't played more songs than we originally intended. [ ... ] I guess we don't have to comment on this."
(Radio 97.5)