L.A. Woman

Following ‘an incident’ where it was alleged Jim indecently exposed himself on stage, The Doors found themselves banned from almost every major concert venue in the states. The result of this was actually they had a lot more time to focus on the recording of a new album. It’s a record that continues from ‘Morrison Hotel’ in the sense of The Doors being aware of the blues. They had help on bass guitar from Jerry Scheff. He did such a fine job, they wanted him to go out on tour with them to promote ‘L.A. Woman’. Around the same time, Jim announced he was leaving, and he didn’t know when he was coming back. At the same time ‘L.A.Woman’ was being released to critical acclaim Jim was in Paris trying to rediscover himself. He would never return. All this is by the time when it comes to actually listening to the record! Does it matter? Not really – here is the album. Do you like it? Well, it is relevant, the time they had to prepare new songs, the great bass player. Jim’s voice may well have been the worse for wear but he certainly gave it a go. His new gruff voice suited the material, actually.

The way this record begins…..THE WAY THIS RECORD BEGINS!!!!!!! Well, we have ‘The Changeling’ and ‘Love Her Madly’. ‘The Changeling’ is prime Doors, no question. The guitar, the great keyboards all over the place. Great bass and vocals. What can you say, its groovy! Its rocking! It makes you want to scream with joy. Well. You know, it’s pretty good. ‘Love Her Madly’ is a great Doors pop song. Perfectly done, great little break in the middle. You can really hear Jerry Scheff here especially – he did a fantastic job and fitted into The Doors perfectly from a musical point of view. Both these opening songs are classics. ‘Been Down So Long’ isn’t a classic, just a blues number. Its well done though, and here Jim’s voice especially suits the material. It’s a voice that’s lived, shall we say ‘Cars Hiss By My Window’ is pure blues which benefits from wonderful guitar work from Robbie.

The title song, placed in the middle of the album, is almost an album by itself. Almost eight minutes long, never dull or repetitive or boring for a single second. It cooks! It’s a great driving song! ‘City of night, whoa!’. Fantastic stuff. Wonderful playing from everyone, again. Musically, The Doors were probably at the top of their game at this stage. ‘L’America’ is slightly quirky in its melodies but does open atmospherical with strange-sounding guitar. It sounds pretty intense, builds up as it goes along – ray does a great job on keyboards. ‘Hyacinth House’ is simple and fun, ‘Crawling King Snake’ a classic blues tune converted to The Doors style. Done very well, actually. We are nearly at the end. ‘The Wasp’ is the only thing here which probably should have been thought about a bit more. It’s one of the more silly things I’ve heard in my entire life. Why is it so much fun? The melodies are simple, quirky. Jim’s poetry borders on the ridiculous. The whole thing is done with such concentration…..that its funny! The guitar solo that appears in the middle is great though.

We have ‘Riders On The Storm’ to end. Like ‘LA Woman’ – this is almost an album in itself. Jim sounds in fine voice, the music is stupendous, everything came together. All Doors together. It matches anything they ever did. Anything. We have an utterly hypnotic keyboard solo – it’s just beautiful. We have doses of brilliant guitar work. The keyboards continue, the bass continues. Jim soars above it all, in the clouds, in the heavens. ‘Riders On The Storm’. I dream about the melody. It appeared to me in my sleep. I probably shouldn’t be saying that should I? I dream of music. This ‘Riders On The Storm’ though is one of the most dreamlike pieces ever created. It’s a sheer work of genius. I can’t help myself, I can’t explain. The Doors reborn. This was called their ‘comeback’ album by some. I can understand why. Although the high points of the record do overshadow the rest, it works as a whole nonetheless. Jim would never return. This is some way for the original Doors to go out. Going out on a high as ‘Riders On The Storm’

Strange Days

The vast majority of these songs had already been written and arranged prior to the recording of the debut. Many of the songs hail from the same song writing sessions that produced their first long player. Since they largely already had a bunch of material ready this album appeared only six months after its predecessor. They sound more assured this time round, perhaps due to greater experience in the studio. The keyboard bass was replaced by a sessioneer on regular bass guitar for part of this record. It sounds slicker than previous recordings. We open with the title song. The keyboards swirl in madness, Morrison’s voice booms out loud and clear and it’s a fine song. A good start to the record all round as ‘You’re Lost Little Girl’ and ‘Love Me Two Times’ follow. The lyrics to ‘You’re Lost Little Girl’ and the tone of Jims voice gets to me every time. ‘Love Me Two Times’ is just stupendous! Especially arriving on the heels of the previous track. ‘Love Me Two Times’ works as a great rock song with a groovy rhythm! The Doors once again prove themselves adept at middle section breaks when great piano comes in guaranteed to raise a smile! A superb song all round.

‘Unhappy Girl’ despite the lyrical tone is lighter musically but extremely melodic with it. The music contrasts the lyrical content and helps you focus on the words, actually. Fine words they are too. ‘Horse Latitudes’ is very hard to take seriously. Musical effects bordering on the humorous despite their admittedly unsettling nature accompany Jim in preacher voice, reading out his spoken word poetry. Thankfully its short. It does serve a purpose breaking up the record sonically. In a sense its there to provide variety. One of the Doors earliest songs gets a recorded appearance next. ‘Moonlight Drive’ is another fine song on an album full of them. Very little faulting this record, actually. ‘People Are Strange’ has been covered a number of times and with good reason. Another fabulous set of intriguing lyrics and music full of hooks but without neglecting depth. ‘My Eyes Have Seen You’ is a great phrase to build a lyric around and the music is up-tempo and features plenty of Ray attacking his instrument with vigour! ‘I Can’t See Your Face In My Mind’ slows things down, sounds unusual but perfectly natural at the same time. Some exotic sounding guitar playing in particular a highlight of this track. Another great piece of cover art, incidentally, cementing The Doors position as a band that were indeed different from the norm.

The epic eleven minutes plus ‘When The Music’s Over’ closes the record. Strange Days indeed? It features Rays keyboard bass, is wonderful throughout and drags the album up a notch all by itself. Very intense and full of passion. Great playing from Ray, Robbie and John. We do have ‘Horse Latitudes’ however. We also have admittedly ‘Love Me Two Times’, ‘People Are Strange’ and ‘When The Music’s Over’. But, these apart, the record lacks obvious standouts of such a quantity as their debut. All the songs are still pretty great though and overall this is another fine and frequently exhilarating ride, no doubt about it!