Douglass Lubahn
| Doug Lubahn | |
|---|---|
| Born | December 20, 1946 |
| Genres | Psychedelic rock, Rock, Jazz, Jazz fusion |
| Occupation(s) | Musician |
| Instruments | Bass guitar |
| Years active | 1966–1981 |
| Labels | Elektra, Columbia |
| Associated acts | Clear Light, The Doors, Billy Squier, Dreams, Riff Raff, Ted Nugent |
| Website | DougLubahn.com |
Douglas Lubahn (born December 20, 1946) is a psychedelic rock and jazz rock bassist who has played with internationally famous bands. His work is featured on several albums recorded by The Doors.
In 1965, Lubahn was working in a ski resort in Aspen, Colorado, USA as a ski instructor, when he ran across Cass Elliot, who happened to be with group called The Candy Store. As Lubahn and Elliot got to know each other, she tried to encourage Lubahn to travel to Los Angeles, California and try to find a band there (at the time many bands were in need of bassists.)
In Los Angeles, 1966, Lubahn was a founding member of the band Clear Light. Clear Light was originally formed by Bud Mathis as The Brain Train. After signing to Elektra Records, The Brain Train was renamed and Mathis was fired.Clear Light was the only album the band created before they split up. Their top song, "Mr. Blue", has been referred to as "long and a bit overbaked, but it does have an odd appeal". A review by Matthew Greenwald stated that they "combined folk, rock, psychedelia, and even a touch of classical to their sound", continuing on to say that "the end result, though, is a little ponderous and pretentious, but strangely listenable".
One day, Clear Light's producer, Paul Rothchild, asked Lubahn to work on sessions for The Doors' second album; as the group lacked a bass guitarist, uncredited session bassist Larry Knechtel had doubled Ray Manzarek's keyboard bass lines on select tracks from their debut album. In contrast to Knechtel, Lubahn played on seven of the ten tracks on Strange Days (1967) as a credited contributor. The Doors invited Lubahn to join the group as a full-time member during the Strange Days sessions, using Rothchild as a messenger; however, Lubahn declined the offer for multiple reasons, including his refusal to leave Clear Light. He also played on all but two tracks on Waiting For The Sun (1968) and, albeit less prolifically, on The Soft Parade (1969), an early horn rock opus that showcased the jazzier contributions of Harvey Brooks.
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