L.A. Woman by The Doors
Style: Blues Rock, Psychedelic Rock
Release: m1970
Length: 49 min.
Round: Blues Rock
I've never been a Doors fan. I like acid rock. In fact, one of my favorite bands is Jefferson Airplane, but I guess these guys were a little too different for me. However, I am actually quite into some of the songs on L.A. Woman. I'mn glad Jim Morrison lasted long enough to create this opus.
Upon the first note, I understood how true to their style and their origins they would be in this album. I've heard three Doors albums before, Doors, Strange Days, and Waiting for the Sun. I theorized this might be the most devoted album the band has. The intro, "The Changeling," is one of the best intros to an album I've heard, being a perfect example of getting the listener familiar with the vibe and the style of the album. The funkiness of other psych acts like Sly Stone and Hendrix is very apparent in this intro. "Love Her Madly," one of The Doors biggest hits, is a worthy second, even though I feel it was a little too early to switch from a funky psychedelic song to a piano and acousic guitar based track. It's a great song, no doubt. Despite its odd and cheery vibe, it has an almost sad kind of romantic background, as if this was a fantastic bar song. "Been Down So Long" has a little bit of the auras from both of the first two tracks. It's slower, but heavy for its bass line. Very bluesly as well. This blues feel is carried into a softer, more easy-going track..."Cars Hiss By My Window." It's overall aura is very similar to the softer blues of the early 60's. The vocals are carried very, very well. The truth to blues proved my earlier statement of being true to the original styles this album is spo heavily influenced by, failing to be cheap immitations. The title track comes nexy, ending the A Side. I remember this song from the radio and forgot it was a fairly big radio hit, not that that's a qualification of its quality. The real hint comes from the awesome, grand guitar playing akin to the happy and lovable style of Duane Allman. At this point, I think to myself, "This is better than their debut." A heartful eight minutes end the side.
A deep, dark, electric guitar... unsettling like a dark alley, begins this side. An organ then comes in, accompaned by bass. This is "L'America." It continues into this vibe throughout the song except for a middle section, causing a pleasant contradiction. "Hyacinth House" is next, starting with an acoustic solo similar to "Over the Hills and Far Away." The rest of the song continues into its own, strange gospel of soft rock and psychedelia, once again creating a guitar style similar to Duane Allman. "Crawling King Snake" carries the blues well, but it gets a little tiring after 5 minutes. "The WASP" ios a cpoem of cryptic energy that can send the player into a strange, desert realm of magic. When the singing starts, it seems to carry the same cryptology, except in the form of an ancient tune. Clever song. The album ends with one of the Doors most notable and most essential hits, the lengthy and thought-provoking "Riders on the Storm." As a mist of rain descends upon the piano and bass, like a strangte jazz intro, Morrison works mwith the guitar to create a mystifying and mezmerizing sense of emotion. Amazing song. I never knew its quality until now.
Overall, I find this album to be better than the debut for its diversity and its devotion to the feel of the elder genres of rock. L.A. Woman is nothing short of amazing. 95/100.