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Format: CD
May 1988
Record Label: Elektra Entertainment
Recording Type: Studio
UPC: 075596067720 |
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| * Actual items for sale may vary from the above information and image. |
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* ML=ships from multiple locations, AE/AP/AA=ships from U.S. Military location.
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* ML=ships from multiple locations, AE/AP/AA=ships from U.S. Military location.
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Track Listing
1. Changeling, The
2. Love Her Madly
3. Been Down So Long
4. Cars Hiss by My Window - (live)
5. L.A. Woman - (live)
6. L'America
7. Hyacinth House
8. Crawling King Snake
9. W.A.S.P., The (Texas Radio and the Big Beat)
10. Riders on the Storm - (live)
| Details | | Producer: | Bruce Botnick, The Doors | | Distributor: | WEA (distr) | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | AAD |
Album Notes
The Doors: Jim Morrison (vocals); Robbie Krieger (guitar); Ray Manzarek (bass instrument); John Densmore (drums).
Additional personnel: Marc Benno (guitar); Jerry Scheff (bass instrument).
Recording information: The Doors Workshop, Los Angeles, California (1971).
The final Doors album to feature vocalist Jim Morrison reaffirmed the quartet's grasp of blues-rock. Beset by personal and professional problems, they retreated to a rehearsal room, cast pressures aside, and recorded a handful of their most memorable compositions. The overall sound of the record is relatively stripped down, but the musicianship is uniformly excellent, with empathetic interplay between guitarist Robbie Krieger and keyboard player Ray Manzarek. Jim Morrison's voice, though somewhat ragged and weather-worn, adds its fiercely unmistakable resonance.
The spooky, low-key "Cars Hiss By My Window" and an edgy cover of John Lee Hooker's "Crawling King Snake" are straight, no-nonsense blues, but the album's highlights, including the jangling radio hit "Love Her Madly" and the breezy, chugging title track, which rides on a thrumming bass line and Krieger's fluid licks, mix bluesy bluster with the Doors' swirling, poetic magic. Morrison's death within weeks of the album's completion cast a pall over its content, especially the eerie rain and the funereal electric piano of "Riders On The Storm," the album's indisputable standout, and one of the most compelling, evocative songs in the band's catalogue. Though not the Doors' finest record, L.A. WOMAN was a fitting swan song for one of the most unique and important bands of the '60s.
Industry Reviews
Ranked #41 in NME's list of The Greatest Albums Of The '70s.
NME (09/18/1993)
...In terms of what they're after here the Doors as a band never falter and there isn't one bummer cut on the entire album--obviously a first for them...
Rolling Stone (05/27/1971)
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