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on February 13, 2017
A someone who has resurrected my vinyl collection I purchased the vinyl version of this album so there are no extra takes. That being said, Cars Hiss By My Window is a sublime slow blues and as you listen you can hang on every note. Their level of playing is perfection throughout the album. I'm not sure you'd get the same feel on CD and I can tell you first hand you will miss all the subtleties as an mp3. I never paid much attention to the Doors in my youth and I was right at the age of their target audience. Through this album I realize I was missing a lot.
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on December 15, 2017
Never heard sound separation as crystal-clear as this. As a musician, I've given copies of this to sound engineers as a blueprint of what I desired. Kudos to those behind this remastering -- an example to follow. The music itself? Well, it goes without saying, this is what The Doors were aiming at the time. Such a crime Jim didn't make it any longer. I can only imagine what could've been -- like a million others! Brilliant all around.
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on April 9, 2018
Favorite Doors album. Love the rough edge. Quality is great-no skips. I'll be playing this record out. I think Jim Morrison was only getting stronger as a songwriter, as was the band, as the years went by and L.A Woman is an astounding accomplishment and wonderful companion to previous Doors records.
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Between their debut album in 1967 and this, their final album, in 1971, the Los Angeles based Doors took a giant leap stylistically. I think their first 3 albums can safely be described as psychedelic/acid rock - trendy, popular and very well produced. In general, all 3 included an air of dark mystery and sometimes violence. The 4th, "The Soft Parade", was an effort to change and move on, and it turned out to be a hodge-podge of different styles. Experimental and eclectic, it's not so bad, right? At least it shows the diversity these musicians were capable of. Then, on "Morrison Hotel", they once again found a zone they were comfortable in: bar rock and blues. This is not one of my favorites, but it does contain "Roadhouse Blues" and "Waiting For The Sun", both of which I do like, a lot. What I find missing from the album overall is that early air of mystery. It's too much of a "fun" album for my taste.

Miraculously, on "L.A. Woman" the dark elements and the bluesy rock are synthesized to form a final album anyone would be proud of (and it is beautifully remixed like the other 5). On "The Changeling", Jim's gruff, boozy vocal is perfect for someone who is living on the edge. Likewise, "Been Down So Long" and "Crawling King Snake" are nothin' but mean, evil blues at its best, featuring Robbie's awesome guitar work. There's more blues in "Cars Hiss By My Window", but it is calmer, more traditional. The title song is a rock classic among rock classics; Jim goes through quite a workout and it sounds like he made a few pit stops along the way to complete the track. "Love Her Madly", a big radio hit, "L'america" and "Hyacinth House" remind me of the early psychedelic Doors. "Riders On The Storm" is very commercial and benign musically when compared to the other tracks, but lyrically, who except The Doors could have come up with the line "...If you give this man a ride, sweet memory will die..."?

There are 2 bonus tracks. "Orange County Suite" is slow and bluesy, not really remarkable but not bad, and "(You Need Meat) Don't Go No Further" is standard old school blues-rock with appropriately suggestive lyrics.

With only 6 studio albums, The Doors managed to establish quite a legacy. I regard them as the premier American rock band (The Byrds are a close second), on a level with The Beatles and The Stones, although certainly less prolific due to circumstances.
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on October 29, 2016
This newly released 40th Anniversary version of L.A. Woman is Awesome,and well worth the asking price! Disc 2 is full of unreleased studio Gems,and the Remastered Cd sounds Wonderful! Highly Recommended!!!
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on January 26, 2012
I expected not too much when I ordered this but unlike a couple of other reviewers found the bonus tracks to be great. I do not own any boootlegs and these 9 are all worthy of release and the 1st 7-the alternate versions sound amazing. This may be for the hardcore fan if u own this in other configurations but I was pleased for 11.99. Also this happens to be my favorite Doors album. I might take away half star for not including bonus tracks from 40th anniversary 07 mix and the alternate of Hyacinth House from the box set but overall am happy to have this. I also enjoyed the subdued "Rock Me" which was quite different from the numerous live versions out there. I don't really get the complaints...I saw a review of the 30 dollar import set with all the anniversary mixes....5 dollars a disc is a ripoff????For people that don't have them-I am not one-it's hard to find value like that... Great release.
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on August 9, 2015
Disclaimer: My last name is Morrison, but I am not related to Jim, at least as far as I can determine. I am slightly older than he would be by now.

When I was a young Navy pilot in a small town in central California, we had a lot of parties. As young Naval officers, we were not typical anti-establishment '60s hippies, but we partied a lot. There always seemed to be The Doors on the record players, and I particularly connected with Twentieth Century Fox and Light My Fire. I was already a devotée of classical music in those days and not much interested in rock music.

But, those two songs in particular wouldn't leave me, and in the summer of 2015, my wife and I were on a road trip in Virginia and I chanced upon a new vinyl pressing of the original debut album. I bought it. When I got home and played it, I loved it and started serfing around about The Doors and whatever else they may have recorded. I had also found an original vinyl copy of Morrison Hotel in Galesburg and bought that.

I decided to go for L.A. Woman, this being the last record cut by the group before Morrison turned up dead in a bathtub in Paris. On it, he is by now a full-out madman, probably completely baked and strung out at all the recording sessions, and in full possession of his gifts and his voice. He is at least three different singers here, including his own self on L.A. Woman, a sort of over the top Elvis on Been Down So Long, and even a bit of Sinatra on Hyacinth House. You can tell when he's high, and you can tell when he's come down and is more mellow. It's a little scary. Morrison was a poet of sorts, and while some of his lyrics are sappy or incomprehensible, some of this stuff gets to you. For me, mainly, it's the music.

The thing about all three albums, this from a classical music nut, is that they are usually musically valid, not just derivative screaming and pounding, and the three backup guys are all serious musicians. They never sound like a garage band or union guys just playing a gig. The group on this album is a finely honed ensemble of talented guys.

I won't dive deep into The Doors and become a nutjob about them, but I may find the vinyl of this, too. The CD is incredibly well done and has the advantage of being playable on my giant audio rig at home or in the car when I drive down to San Diego to drink with my kid brother.

If you're already an old (!) The Doors fan, you already have this. If you just have the old LP, go ahead and get this CD for its clean sound and portability. If you're young and just wonder what Jim Morrison was all about, get the debut album and this one. Hotel Morrison is kind of a different animal, satisfying in a different way. If, like me, you're mostly a classical music person, think of Jim Morrison as a sort of budding Stravinsky, who was also an improbable combination of a genius and a madman.

Overall: I love it! Five stars! Get this album! Have a nice day!
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on June 29, 1999
In L.A. Woman, The Doors continue their evolution after the gradual loss of power they had experienced through The Soft Parade. Whereas in Morrison Hotel they went for a combination of hard rock and blues, in L.A. Woman The Doors make it clear that the blues is their chief focus.
All Jim Morrison's excesses had affected his voice along with the rest of his body in his very last years. Morrison Hotel shows him a bit raunchier, but on L.A. Woman it is clear the smoothness in his voice has somewhat deteriorated except on the songs that are slower/more like spoken-word poetry in character: "Cars Hiss By My Window," "Hyacinth House," and of course, "Riders on the Storm." Actually, an exception too, more inexplicably, is the rocker "Love Her Madly," the Doors' last short AM hit. Bouncy, very catchy, and with a great carnivalesque solo by Ray Manzarek. It is Robbie Krieger's song, but with some of the bleakness characterizing Jim's songs: "Don't you love her as she's walking out the door," "All your love is gone, so sing a lonely song." The Doors were always a cohesive unit, not "Jim Morrison and The Doors."
But the grittiness Jim shows in place of smoothness in other songs worked well, particularly with the bluesier numbers. Check out "Been Down So Long" and John Lee Hooker's "Crawling King Snake," the group's first cover on a studio album since their debut (gee, why did Jim pick one with that title?). Then--in the magnificent title cut, how would a rangy Jim have been? Yet fate had it well. His grittiness, his grunting--they worked. This was not "Tell All the People"--it was a Doors and rock classic, a car driving song, with a "bright beat," as the sheet music says, potent rock 'n roll infused with some blues. L.A. Woman actually expresses joy (the "Eye" is Mr. Mojo Risin'), is this The Doors? Yet Robbie Krieger's briefly overdubbed guitar solo following the song opening is lively, celebratory, slightly country, in fact, reminding one a bit of The Allman Brothers' "Jessica," gradually working its way upward, opening up like a blooming flower--awesome. Then there is Ray's great, uplifting electric piano solo, and Robbie's simple but very pretty revolution around the "A" chord in the "I see your hair is burning" section. And whatever you thing of "Mr. Mojo Risin'," how about that dynamite climax?
Jim's raunchier singing also shows up on the opener, "Changeling," certainly very autobiographical, and he once again asserts himself as the group's leader: His verseline sets the pace, the instrumentalists oblige, Robbie with some fabulous bluesy slide guitar. In "Cars Hiss By My Window" and "Been Down So Long," Jim is isolated, enclosed--looking outward--a prison is one of the images in the latter, but the emphasis is the bluesy down mood, as Robbie's guitar slithers through the blues again magnificently. In "Cars," Jim tells us the cars hiss "like waves out on a beach"--nicer to be in a beach house, tho the girl he's got beside him is "out of reach." Robbie's guitar sounds just like waves, The Doors' being ever so theatrical. A witty moment at the end: Robbie uses a wah-wah to the effect that one cannot tell whether it is guitar or Jim improvising.
Paul Rothchild refused to produce this album, saying it was cocktail lounge music except for the title cut and "Riders on the Storm." Interesting that he excluded the latter, for it certainly is. And certainly better than almost anything that is not. "Riders" is thoroughly excellent, with Ray's lovely jazz piano work and Robbie's pretty gliding guitar lines. Like in "Light My Fire," Jim's verse is relatively sparse in a long cut, but his lyrics are striking and memorable. But then, how about the amazing "The Wasp (Texas Radio and the Big Beat)"? Talk about striking images, exemplifying the ever-so-clear truth that Jim's song lyrics were superior to his poetry. The Doors achieve a compelling mood with a catchy, primitive beat; bluesy and slightly jazz-infused instrumental sweeps; and John Densmore's great percussion, with one memorable short soft drum flourish, as Jim declares, "No eternal reward will ever forgive us for wasting the dawn. "
L.A. Woman is a brilliant finale from a group that had suffered through so much turmoil, induced by Jim, that it was questionable whether they had anything left. But they took one more trip down to "L'America" and came up with this monumental work before Jim left for Paris, never to return. And everyone should enjoy the trip in this one--the Doors' perennial themes are there: the down side, this time with the blues; highways; empty houses; image-laden, but sometimes sparse or discomforting, expanses; reptiles; the sense of humor (check out "Hyacinth House"). But there are things new and different too. Then The Doors are closed.
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on March 30, 2017
Getting this 40th Edition with the additional CD is a must. My goodness, these raw tacks are better than the album itself. Feels like Jim is sitting in your living room.
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on September 19, 2012
As I wrote on another site the thing about this DVD Audio that blows me away is we always read the review that says it's like "so and so is playing in your living room" and while a lot of the audiophile stuff I own comes close, this one comes the closest. At least for rock music. For jazz, I have a few that really create that impression. But this DVD A truly has Jim Morrison singing a few feet from me and I can see Ray Manzarek sitting in a chair hunched over his keyboard, Densmore in the back behind my system banging on drums and Krieger casually playing guitar while leaning against my bookcase. I know this may sound a bit dramatic, but it really comes that close. Keep in mind I prefer to listen to 2 channel stereo so can't speak for the 5.1 surround on this but if you want to feel like The Doors are back together and playing in your living, you just get this. Even if you've never been a huge Doors fan, this DVD-A will turn you into one. Amazing in all ways.
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