L.A. Woman

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L.A. Woman
File:The Doors - L.A. Woman.jpg
Studio album by the Doors
Released April 19, 1971 (1971-04-19)
Recorded December 1970 – January 1971
Studio The Doors Workshop, Los Angeles, California
Genre Blues rock
Length 48:24
Label Elektra
Producer The Doors, Bruce Botnick
the Doors chronology
13
(1970)131970		 L.A. Woman
(1971)		 Other Voices
(1971)Other Voices1971
Singles from L.A. Woman
  1. "Love Her Madly"
    Released: March 1971
  2. "Riders on the Storm"
    Released: June 1971

L.A. Woman is the sixth studio album by the American rock band the Doors, released on April 19, 1971, on Elektra Records. The album was the last to feature the group's lead singer, Jim Morrison, who died three months after the album's release. It saw the band continue to integrate elements of blues back into their music, a direction that they had begun with their previous album, Morrison Hotel. In addition, it saw long-time record producer Paul A. Rothchild depart, after a fallout over the band's performance in the studio. After his departure the band co-produced the album with sound engineer, Bruce Botnick.[1]

Upon release, the album peaked at number nine on the Billboard 200[2] and reached number 28 on the UK Albums Charts[3] It was preceded by "Love Her Madly" single in March 1971, which reached the Top 20 in the Billboard Hot 100. An additional single in support of the album, "Riders on the Storm", was also released to success on the Billboard singles charts, and managed to chart in the UK Singles Chart. Music critics Richie Unterberger and David Quantick have both noted that L.A. Woman is arguably one of the Doors' best albums, citing Morrison's unwavering enthusiasm in his vocal performance, and the band's stripped-down return to their blues rock roots.[4][5]

Background

Jim Morrison on the day of his conviction in Miami for profanity and indecent exposure.

On September 20, 1970, Morrison was convicted for profanity and indecent exposure stemming from a concert in Miami, Florida on March 1, 1969. For much of 1969, the band was blacklisted from many radio playlists and their concert bookings dried up, with promoters fearing another Miami episode. Morrison, who craved recognition as a serious poet and also began dabbling in film, had mentioned leaving the group at the end of 1968, only to be convinced by keyboardist Ray Manzarek to give it another six months.[6] In a 1971 interview with Ben Fong-Torres, Morrison said of Miami, "I think subconsciously I was trying to get across in that concert, I was trying to reduce it to absurdity. And it worked too well."[7][8] By the fall of 1970, with Morrison's case pending appeal and the band's contract with Elektra Records nearing its end, the future of the Doors was very much in doubt. Moreover, the band was not happy with the label for the release of 13, a "best of" package that had been assembled purely for the Christmas shopping season.[citation needed] In 1997 guitarist Robby Krieger observed to Guitar World, "We were pretty far down. We couldn't play anywhere because of the fallout from the indecent exposure; Morrison Hotel hadn't done that well, and people were saying we were over; Jim looked bad and was getting fat; our longtime producer walked out on us...We figured we were screwed, so we started having fun again." However, despite the bad publicity, the band was still a recognized powerhouse; in 2011 Elektra co-founder Jac Holzman told David Cavanagh of Uncut, "They were gigantic. Remember, this was a time when DJs were playing whole albums. They would play all the Doors albums. The buzz and recognition of the band was continuous. A new Doors album was going to be a huge event no matter what."[this quote needs a citation]

Recording

In November 1970, shortly after the conclusion of Jim Morrison's controversial trial for indecent exposure,[9] the Doors entered Sunset Sound Recorders in Los Angeles to record early versions of "L.A. Woman", "Riders on the Storm", and "Love Her Madly", three new songs they had recently composed.[10] The new songs were a departure from the overly orchestrated pieces, evident in The Soft Parade, that burdened the group with long, drawn-out recording sessions.[11] The simplified and straightforward style, manifesting from Morrison Hotel, was well-received, noted by Jazz & Pop magazine as "A return to the tight fury of early Doors' music".[12][13] However, the band ran into trouble with their record company, Elektra Records, which released the Doors' first compilation album, 13, to have a product for the Christmas market. It was released without the band's input, and featured a larger-than-life image of a younger Morrison, upsetting the Doors' frontman enough to threaten signing with another label after their contractual obligations were met. With one more album entailed in the group's contract, they could do little to protest, but continue rehearsing their material.[14][15]

Record producer Paul A. Rothchild, who worked with the band through their first five albums, departed the Doors' early on into recording sessions as a result of friction arising from, among other things, Rothchild's dissatisfaction with the band's wish to record "Love Her Madly", the song that he recollects "drove me out of the studio". Rothchild felt that recording the composition was a step backwards artistically, notoriously calling the song "cocktail music".[14] It has been suggested the unkindly label was directed toward "Riders on the Storm", although Rothchild maintains that the remark, regardless of where it was directed, was actually an attempt to "make them angry enough to do something good".[16] An additional factor that contributed to Rothchild's leaving was the group's minimal progress in developing written material, especially when the band contained three capable songwriters. His investment in the band deteriorated still further when he found he was gaining no headway in enthusing Morrison to consistently show for rehearsals.[16][17] As Botnick revealed in the book Love Becomes a Funeral Pyre, an underlying issue that also led to Rothchild's leaving was the emotional devastation the producer felt after the death of Janis Joplin, who he had been working with to complete her second solo effort, Pearl.[18] In the end, Rothchild left before any master takes were complete, recommending to the Doors to co-produce L.A. Woman with sound engineer Bruce Botnick.[19]

The Doors and Botnick organized a makeshift recording studio at their private rehearsal space, The Doors' Workshop, located in a two-story building at 8512 Santa Monica Boulevard, in Los Angeles[20] enabling the band to record in a more comfortable and relaxed setting, while at the same time avoiding the expenses of a professional studio.[21] A mixing console, previously owned by Elektra, was installed into the upstairs of the Workshop, while studio monitors, microphones, and keyboards were set downstairs. To compensate for the lack of an insolated vocal booth, Morrison recorded within the facility's bathroom with the same microphone used on the Doors' infamous final tour.[22][23]

For recording, the Doors hired Elvis Presley's bassist Jerry Scheff and rhythm guitarist Marc Benno to round out their sound, with Scheff, in particular, contributing on every track except "L'America".[24] Densmore characterized Scheff as "an in-the-pocket man", also praising how he "allowed me to communicate rhythmically with Morrison, and he slowed Ray down, when his right hand on the keyboards got too darn fast".[25] By all accounts, Morrison – a huge Presley fan – was excited by Scheff's participation. The songs were completed, almost spontaneously, in a few takes on a professional quality 8-channel recorder, and the album was finished within six days.[10] Being something of a blues buff, Morrison enthusiastically proclaimed the final recording session as "blues day", recording "Crawling King Snake", "Cars Hiss By My Window", and "L.A. Woman", and ultimately ensuring that the album had a raw, live sound with very few overdubs, aside from the keyboards played by Ray Manzarek.[25] Botnick explained, "The overall concept for the recording session was to go back to our early roots and try to get everything live in the studio with as few overdubs as possible".[13][26] In the end, mixing for the album was completed at Poppy Studios between February and March 1971, by which time Morrison had relocated to Paris, France.[27]

Composition

The band initiated the sessions lacking much prepared material, and were required to compose some of the tracks on the spot, often through jam sessions and conferencing in the studio. Morrison was encouraged by the absence of the numerous takes that plagued The Soft Parade, and unlike on past recording sessions, appeared on time, while reducing his alcohol consumption.[28] The absence of Rothchild may also have been a factor; the producer was a notorious perfectionist who often insisted on multiple, and even multiple dozens, of takes. In 1994, guitarist Robby Krieger told Alan Paul of Guitar World, "Rothchild was gone, which is one reason why we had so much fun. The warden was gone." Despite its troubled beginnings, L.A. Woman contains some of the Doors' most mystical and ethereal music, as well as some of their most blues-oriented.[29] Lyrically, it attempted to deal with contemporary topics such as love, life in Los Angeles, and complex aspects of the human experience.[30] Manzarek explained the band did not "approach the album with one vision, but after we started working on the songs, we realized that they're talking about L.A. They're about men, women, boys, girls, love, loss, lovers-lost, and lovers-found in Los Angeles".[30] The album, as a whole, represented the apex of Morrison's songwriting abilities, juxtaposed with his poetic phrasing that underline his passions for Los Angeles, and a desire to depart from the city with his love interest, Pamela Courson.[31] Artistically, L.A. Woman took the musical experimentation of the original band to the farthest logical extreme, mixing blues, psychedelia, and jazz, often within a single song.[32] For the first time since the epics "The End" and "When the Music's Over", the group was able to successfully incorporate extended concept works, including "L.A. Woman" and "Riders on the Storm".[28] "L.A. Woman" is Morrison's despairing salute to Los Angeles, a city he saw as diseased and alienated.[33] Morrison took the phrase "city of night" ("Are you a lucky little lady in the City of Light, or just another lost angel – City of Night") from a novel by John Rechy.[33] During the song's middle section break down, Morrison delivered his iconic phrase Mr. Mojo Risin', an anagram for Jim Morrison. In the documentary Mr. Mojo Risin': The Story of L.A. Woman, drummer John Densmore reveals, "Well, mojo is a blues term for sexuality, and so I thought, 'What if I slowly increase the tempo like an orgasm?'" In 1994, Krieger asserted to Guitar World:

...a lot of it was cut live, and "L.A. Woman" was completely live. I think that could be the quitessiential Doors song, and the way we came up with it was amazing. We just started playing and it came together as if by magic. Jim made a lot of it up as he went along, which is amazing because I think it's one of his most poetic songs.[this quote needs a citation]

The moody "Riders on the Storm" evolved from Krieger playing "Ghost Riders in the Sky" with lyrics based on an experimental 1969 film Morrison had made with Frank Lisciandro called HWY. In 2011 Manzarek revealed to Uncut, "There's a whisper voice on 'Riders on the Storm', if you listen closely, a whispered overdub that Jim adds beneath the vocal. That's the last thing he ever did. An ephemeral, whispered overdub."[this quote needs a citation] The sinister "Cars Hiss By My Window" was from one of Morrison's few surviving Venice Beach notebooks while the poetry of "The WASP (Texas Radio and the Big Beat)" was included in the Doors original souvenir book distributed in 1968, the same year that Morrison wrote the lyrics to "The Changeling".[33] In the same Uncut article Manzarek commented, "The big beat is a radio station that came out of Del Rio in the '50s, with huge transmission power, right on the border with Mexico. It's where Wolfman Jack got his start. It reached as far as Chicago, where I was, and Morrison in Florida. He and I both grew up with Texas radio."[this quote needs a citation] The John Lee Hooker classic "Crawling King Snake" was a natural for the group and especially Morrison, the "Lizard King" whose fascination with reptiles is evident in songs like "Celebration of the Lizard" and "The End".

Morrison's handwritten original lyrics to 1971's LA Woman.

As had often been the case in the past, Robby Krieger was responsible for writing the album's hit single "Love Her Madly." According to David Cavanagh's Uncut article "The Perfect Storm", the guitarist wrote the song after he had an argument with his wife, Lynn, and it was Jac Holzman who insisted that it be a single, even though the group believed "The Changeling" would be a likelier hit. The funky James Brown-esque "The Changeling," with its line "I'm leavin' town on the midnight train", appears to anticipate the singer's impending move to Paris. (On the alternate version included on the 40th Anniversary reissue, Morrison can be heard before the song saying, "This is my favorite number.") In the L.A. Woman documentary, Densmore calls the mournful ballad "Hyacinth House" "the loneliest song Jim ever wrote". Manzarek plays a Chopin-inspired solo on the coda. In the liner notes to the 1997 Doors Box Set, Krieger recalls the genesis of the song:

"Hyacinth" was written at my house. Jim and John came over one day and we turned on the tape recorder. "Hyacinths" refers to some flowers growing outside my living room. "I see the bathroom is clear" is Jim's friend, Babe [Hill], finally leaving the bathroom so Jim could use it. The "lions" refer to my pet bobcat Poppy. "I need a brand new friend" alludes to one of the many break-ups with Pam [Courson, Jim's long-time girlfriend].[this quote needs a citation]

The Latin American themed "L'America" had been written for the film Zabriskie Point but was not used. The film's director, Michelangelo Antonioni, reportedly visited with the band during the recording sessions. Lyrically, the bluesy rocker "Been Down So Long" draws upon themes of depression, liberation, and sexuality.[34] The title makes reference to the 1928 Furry Lewis song, "I Will Turn Your Money Green" ("I been down so long/It seem like up to me"), and the first verse may have been inspired by Richard Fariña's novel Been Down So Long It Looks Like Up to Me which was about Fariña's college experiences and travels.[35] It is also considered to be Morrison at his most "mock tough".[36] Musically, "Been Down So Long" is a standard, very conventional blues song,[37] with rambunctious aggression, and of the "old Doors, slow blues" style.[36] It also features a distinct slide guitar,[38] a rough sound, and a stomping beat.[39] Although the album had few overdubs, "Been Down So Long" features several guitar tracks, with Krieger recalling to Guitar World in 1994, "Ray played a guitar and Benno played, and I probably overdubbed one too. I think I also overdubbed two or three slide parts....I was trying to capture a mood without worrying about technique."[this quote needs a citation] In the same interview, Krieger called "Cars Hiss By My Window" "our Jimmy Reed piece. Jim was really getting into the blues at that time and he loved it when I would just play straight blues. He'd sit there and make up songs on the spot. He just wanted to play all night. It's too bad because I really think that had we done another album it would have been a lot more straight blues stuff, which I always loved."[this quote needs a citation]

For the album cover, a heavily bearded Morrison intentionally crouched so he would appear shorter than his bandmates, with some viewing this as revenge on Elektra for emphasizing earlier photographs of the singer for the recent Doors albums Absolutely Live and 13.[40]

Live performances

Morrison, rejuvenated from recording his poetry at Village Recorders on December 8, 1970, felt encouraged to debut the forthcoming L.A. Woman material on tour.[41] On December 11, 1970, the Doors performed in front of two sold-out audiences at the State Fair Music Hall in Dallas.[42][43] The band opened the first concert with an extended version of "Love Her Madly", but were noticeably unpracticed on their older tunes after being on hiatus since the Isle of Wight FestivaI in August 1970.[44] Morrison managed to compose himself for the first showings of "The Changeling", "L.A. Woman", and the remainder of the set, before closing with an improvised "When the Music's Over".[42] Much to the band's delight, the Dallas concerts were met with positive reception from the audience, proving to the detractors that the Doors were still a capable live act and compelling the group to schedule an additional performance in Louisiana.[45] Crude recordings taken from the Doors' performances of "Love Her Madly", "The Changeling", "L.A. Woman", and the Morrison Hotel track "Ship of Fools" were included on the 2003 album Boot Yer Butt: The Doors Bootlegs.[46]

On December 12, 1970, the Doors took the stage at the Warehouse in New Orleans for what turned out to be the last live performance with Morrison.[47] Midway through the group's set, an intoxicated Morrison began slurring the lyrics to "Light My Fire", and attempted to compensate with lengthy speeches and jokes. He proceeded to sit in front of the drum platform in between Krieger and Manzarek's solos, but did not rise to complete the song.[48] Morrison finally advanced toward the microphone when he was urged on by Densmore, hanging on the mic stand as he attempted to sing. Amid the rising tension, Morrison repeatedly bashed the mic stand into the stage until the wood splintered, before retiring to the drum platform where he laid motionless. In the end, the Doors mutually agreed to cease touring, and reiterated a commitment to complete the studio work for L.A. Woman.[49][50]

For years, speculation remained over the possible existence of recordings of the Doors' last concert with Morrison. In 2011, a stage manager of the Warehouse named George Friedman revealed he is in possession of a crude reel to reel of the Doors performance, which he keeps secured in a safety deposit box.[51] Friedman explained he discovered the tapes "when Beaver Productions moved its offices out of the Warehouse, Uptown into a building at the Riverbend. The Doors tape, along with a stack of other Warehouse show tapes, were cast off and left behind as debris during the move".[51] Despite the confirmation of their existence, there has yet to be an official release of the recordings.[51]

Release and reception

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I'm glad that L.A. Woman was our last album … It really captured what we were all about. The first record did, too, but L.A. Woman is more loose, it's live – it sounds almost like a rehearsal. It's pure Doors.

– Robby Krieger reflecting on the album during a 2012 interview[52]

L.A. Woman was released on April 19, 1971, on the Elektra label (catalogue item EKS 75011 in stereo).[53] It peaked at number nine on the Billboard 200, during a stay of 36 weeks and reached number 28 in the UK, spending four weeks on the UK Albums Charts.[2][3] Initially, the album's front cover was released in the US and UK with a burgundy-colored, curved-corner cardboard cutout sleeve, framing a clear embossed cellophane insert, glued in from behind.[54] Photography was credited to Wendell Hamick. According to Jac Holzman, then the chief executive officer of Elektra Records: "I wasn't sure there would be another album ever, so I had Bill Harvey create a collector's cover. The Doors' faces were printed on clear film. The backing color of the inner sleeve could be changed and would affect the mood of the package. This is the first album in which Jim is bearded [on the cover]. His photo is on the right, no bigger, no smaller than the others, just another guy in the band."[55]

Three months following the album's release, Morrison was found dead on July 3, 1971. There had been discussions between Morrison and the band for future recording; however, he never had the opportunity to return to the US to take part in possible developments.[56][57] The album was preceded by the "Love Her Madly" single, which was released in March 1971 and charted at number 11 on the Billboard Hot 100 for a stay of 11 weeks, but failed to chart in the UK. An additional single taken from the album, "Riders on the Storm", was released in June 1971, and reached number 14 on the Billboard chart, while managing to peak at number 22 in the UK chart.[2][3]

Professional ratings
Review scores
Source Rating
AllMusic 4.5/5 stars[4]
Christgau's Record Guide A–[58]
Classic Rock 7/10 stars[59]
Encyclopedia of Popular Music 4/5 stars[60]
MusicHound 4/5[61]
PopMatters 8/10 stars[62]
Q 3/5 stars[63]
Rolling Stone 4.5/5 stars[64]
The Rolling Stone Album Guide 4/5 stars[65]
Slant Magazine 3.5/5 stars[66]

The album received mostly positive reviews. Robert Meltzer of Rolling Stone, in his 1971 review, was impressed by the sense of fun and the togetherness of the band and claimed that this was "the Doors' greatest album" and the best album of the year.[67] Robert Christgau appreciated Morrison's sense of humor in some of the songs' lyrics and believed "the band has never sounded better", although he lamented "Been Down So Long" and "L'America".[58] In more recent years, Richie Unterberger, writing for the AllMusic website, described L.A. Woman as "uneven", but noted that the album contains compositions that "rate among their finest and most disturbing work".[4] Critic Sal Cinquemani, reviewing the album for Slant Magazine, considers L.A. Woman to be "the sound of a band in perfect harmony". He describes the Doors' material as "disturbing and cynical over the years, and these songs were no exception".[66] Stephen Dalton of Classic Rock, reviewing the 40th Anniversary Edition of the album, remarks how "the original L.A. Woman still stands proud, an all-time classic journey into bright shining darkness."[59]

In the opinion of PopMatters critic Nathan Wisnicki, Morrison's lyrics were less pretentious than on The Doors' previous work because of L.A. Woman's "more conventional blues".[62] David Quantick from BBC Music attributed the record's success to "a stripped-down yet full sound, a developed mysticism tied tightly to the band’s brand of rock, and confidence born of having been a functioning unit for several years".[5] In his 1994 book The Complete Guide to the Music of The Doors, Peter K. Hogan describes the album as an expansion on the style from Morrison Hotel, but in a more coherent form. The author goes on to say that L.A. Woman is a fitting swan song for Morrison, who was pleased to finally record a blues-oriented album.[68]

In 2003, L.A. Woman was ranked at 362 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time.[69] When the list was revised in 2012, to accommodate a number of albums released since 2003, the album was repositioned at number 364.[70] Stereogum named it the Doors' second best album, and the website's Ryan Leas wrote, "It traveled the same raw blues-rock lane as its predecessor, but now the Doors sounded ragged, bleary. It's one of those early-'70s records that comes off like a beleaguered hangover from the end of the '60s."[71]

CD reissues

Botnick later produced and mixed a new 5.1 Surround version of the album, which was released on DVD-Audio on December 19, 2000. It was produced from the original eight-track analog 1" master tapes.[72] L.A. Woman was digitally remastered as a part of "The Years of the Doors" series. It was reissued in an expanded format on January 24, 2012, by Elektra and Rhino Records, with seven alternate versions of songs, and three previously unreleased tracks, "Orange County Suite", "She Smells So Nice" and "Rock Me".[73] To correlate with the release, a documentary titled Mr. Mojo Risin': The Story of L.A. Woman was distributed. The film includes interviews between Krieger and Densmore, as well as live and studio performances.[74]

Track listing

Side A
No. Title Writer(s) Length
1. "The Changeling"   Jim Morrison 4:21
2. "Love Her Madly"   Robby Krieger 3:20
3. "Been Down So Long"   Jim Morrison 4:41
4. "Cars Hiss by My Window"   Jim Morrison 4:12
5. "L.A. Woman"   Jim Morrison 7:49
Side B
No. Title Writer(s) Length
6. "L'America"   Jim Morrison 4:37
7. "Hyacinth House"   Ray Manzarek, Jim Morrison 3:11
8. "Crawling King Snake"   Anon, arr John Lee Hooker 5:00
9. "The WASP (Texas Radio and the Big Beat)"   Jim Morrison 4:16
10. "Riders on the Storm"   Jim Morrison, Ray Manzarek, Robby Krieger, John Densmore 7:09

Singles

  1. "Love Her Madly" b/w "(You Need Meat) Don't Go No Further" (Elektra 45726) March 1971 (US #11)
  2. "Riders on the Storm" b/w "The Changeling" (Elektra 45738) June 1971 (US #14, UK #22)

Personnel

The Doors
Additional musicians
Technical

Chart positions

Album
Year Chart Position
1971 Pop Albums 9
Singles
1972 L.A. Woman / Riders on The Storm US Position
1971 "Love Her Madly"
B-side: "(You Need Meat) Don't Go No Further"		 Pop Singles 11
1971 "Riders on the Storm"
B-side: "The Changeling"		 Pop Singles 14

Certifications

Region Certification Sales/shipments
United States (RIAA)[75] 2× Platinum 2,000,000
Canada (Music Canada)[76] 3× Platinum 300,000
France (SNEP)[77] 2× Platinum 600,000
Australia (ARIA)[78] 4× Platinum 280,000
Spain (PROMUSICAE)[79] Platinum 100,000
Austria (IFPI Austria)[80] Gold 25,000
Switzerland (IFPI Switzerland)[81] Gold 25,000
Germany (BVMI)[82] Gold 250,000
United Kingdom (BPI)[83] Gold 100,000

*sales figures based on certification alone
^shipments figures based on certification alone
xunspecified figures based on certification alone

References

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  65. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  66. ↑ 66.0 66.1 Lua error in package.lua at line 80: module 'strict' not found.
  67. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  68. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  69. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  70. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  71. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  72. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  73. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  74. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  75. ↑ Lua error in package.lua at line 80: module 'strict' not found. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
  76. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  77. ↑ Lua error in package.lua at line 80: module 'strict' not found. Select DOORS and click OK
  78. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  79. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  80. ↑ Lua error in package.lua at line 80: module 'strict' not found. Enter The Doors in the field Interpret. Enter L.A. Woman in the field Titel. Select album in the field Format. Click Suchen
  81. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  82. ↑ Lua error in package.lua at line 80: module 'strict' not found.
  83. ↑ Lua error in package.lua at line 80: module 'strict' not found. Enter L.A. Woman in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Gold in the field By Award. Click Search
  • Lua error in package.lua at line 80: module 'strict' not found.
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