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L.A. Woman

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iTunes Review

L.A. Woman was Jim Morrison's sixth and final studio album with The Doors. It's an inspired set of blues-based material that transcends the genre with Morrison's otherworldly intensity. His psychedelic influences are still at work on the tribal "The WASP (Texas Radio and the Big Beat)" and in the wonderfully bizarre "Hyacinth House," where he proclaims, "I see the bathroom is clear." The title track, "Love Her Madly," and "Riders on the Storm" are permanent fixtures in the classic-rock canon, while "The Changeling" may be the group's most underrated track, spotlighting Ray Manzarek's defining organ work.

Customer Reviews

Best Doors Album

Easily the best overall The Doors album. Has the Blues quality but with The Doors touch.

Blues and Thensome

Where's the 40th anniversary album noted in the write-up with alternative takes?

Masterful, say no more.

One of the best rock and roll albums ever

I can't fault those who don't like the Doors. Let's face it, much of their output is pretentious, much of their intrumental work underwhelming, and the Morrison/lizard King schtick gets to be downright meglomanical and contrived depending on the song. Their output had dozens of half hearted fillers interposed and Jim's poetic flourishes have merits to go along with sundry fumbling demerits (the soft parade LP is horrid). But these faults are applicable only when we consider those first 5 albums. LA Women, by contrast, is a masterwork that singularly justifies their fleeting existence for all time. Wrought by madness and conveyed with a sort of deep morbid cool, this album is the realization of the Doors long held aspiration to be evocative poets (Teaxas Radio and the big beat), authentic bluesmen (crawling King Snake, Cars Hiss by Window), pop juggernauts (Love Her Madly) and jazz/rock fusionists (Riders of The Storm). The title track is an absolutely superb composition that gracefully instills the paradigm (perhaps the doors should have recorded in such primitive surroundings from the beginning). Rays keyboard work was never so subtle or accomplished. Densmore's drumming never so clever or vital, nor Kriegers chords so guilded. This is the only album they made that makes me ponder their prowess as musicians. Top that with Morrisons bedraggled growls, desperate grunts and mellifluous skatting. The Doors were obviously at their best cutting dusky blues records instead of dabbling in floppy psychadelia for chart success. So ya, hate the Doors if you must, but for goodness sake, do not hate this album if you value your ears.


Formed: July, 1965 in Los Angeles, CA

Genre: Rock

Years Active: '60s, '70s

The Doors, one of the most influential and controversial rock bands of the 1960s, were formed in Los Angeles in 1965 by UCLA film students Ray Manzarek, keyboards, and Jim Morrison, vocals; with drummer John Densmore and guitarist Robby Krieger. The group never added a bass player, and their sound was dominated by Manzarek's electric organ work and Morrison's deep, sonorous voice, with which he sang and intoned his highly poetic lyrics. The group signed to Elektra Records in 1966 and released its...
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