Larry Knechtel’s electric bass doubled Ray Manzarek’s keyboard bass to add punch. “It was important to us to get live performances in the studio to accurately capture them as a performing group,” said engineer Bruce Botnick. The Doors’ sound had been honed by months of playing at clubs. ![]() The Doors as a rock group was an unusual assemblage - a jazz keyboardist, a flamenco guitarist, a jazz drummer and a poet vocalist - that somehow coalesced into a band with a sound unlike that of its peers. In his introduction to a Mercury Theatre production of another Fletcher drama, “The Hitchhiker,” Orson Welles called “Sorry, Wrong Number” “the single greatest radio script ever written.” Suspense producer William Spier so liked the script that he allowed an exception to his rule that the guilty always be caught and punished. “Sorry, Wrong Number” was so popular, it was restaged seven times between 1943-60, every broadcast a new performance by Moorehead, who used her original script for each outing. Moorehead spent hours in preparation for her performances, which were so intense she sometimes collapsed when they were over. She centered the story on a telephone, which she called “the real protagonist of the piece.” Moorehead was the lead, brilliantly supported by sound-effects artist Bernie Surrey. Author Lucille Fletcher wanted to write a story “that could happen in no other medium than that of pure sound,” a radio tour de force. “Sorry, Wrong Number,” was first broadcast on May 25, 1943, as part of Suspense. ![]() “Sorry, Wrong Number” (episode of Suspense radio series, May 25, 1943)
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