The Doors: L.A. Woman CD Track Listing

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The Doors L.A. Woman (1971)
Perception - Disc 6 of 6 (L.A. Woman)\n2006 Elektra/Rhino\n\nThis Compilation (Perception Box) Released November 21, 2006\n''L.A. Woman'' Originally Released April 1971\n''L.A. Woman'' CD Edition Released ??\n''L.A. Woman'' Remastered CD Edition Released May 1988\n''L.A. Woman'' DCC Gold CD Edition Released April 9, 1993\n''L.A. Woman'' Released as Part of ''Complete Studio Recordings'' Cube Compilation Released November 9, 1999\n''L.A. Woman'' 96K Remastered CD Edition Released July 2000\n''L.A. Woman'' DVD-Audio Released December 19, 2000\n''L.A. Woman'' Released as Part of ''Complete Studio Recordings'' longbox Compilation Released September 9, 2003\n\n\nAMG EXPERT REVIEW: (Perception Box) It's hard not to look at the 2006 box set Perception without a skeptical eye, since it is not only the third box set of the Doors studio recordings to be released within the course of a decade, it is the second in a row to purport to house the "complete studio recordings" of a group that released six studio albums -- and this doesn't count the live sets and hits comps that have appeared during that decade, either. Needless to say, the band has been packaged, repackaged, and reissued more than most, but just because there has been more Doors boxes than necessary doesn't mean that Perception lacks value. Indeed, it trumps the 1999 box The Complete Studio Recordings in every sense, since it covers the same territory in a set that is better packaged and better-sounding while also offering many more rarities. It also offers brand-new remasters supervised by the surviving band and their original producer Bruce Botnick, highlighted by the first-ever release of the classic debut album at its proper speed; apart from that, the improvements are by and large marginal in terms of the CD audio, but there are also 5.1 surround mixes of each of the albums on the DVD-Audios that accompany each album in this set, which are the primary sonic enticements to those who have already purchased these albums two, three, four times on CD. The bonus material -- and each of the albums have bonus tracks, ranging from two cuts on L.A. Woman to ten on Morrison Hotel -- by and large presents songs that have been official releases before (including much of the music from the Essential Rarities disc that was included in the 1999 box), but there have been a handful of rarities excavated for this set, including the unheard "Push Push" which has been added to The Soft Parade. All this makes Perception into what the 1999 box promised to be in its title: the complete recorded works, more or less, and it's better-looking and better-sounding, too. Even so, any fan who has purchased the prior sets would be forgiven if they passed on this otherwise excellent box: no matter how well-done it is, it's hard not to shake the perception that you've bought this all before. -- Stephen Thomas Erlewine\n\nAmazon.com Editorial Review (Perception Box) \nFor years, the recording industry has asked fans to purchase the same music from the 1960s and '70s over and over again, via remasterings, repackagings, and, of course, reformattings. The Doors' box Perception (get it?), cleverly packaged as... a door, does hold some astonishing music, but the thing itself is a weird hybrid beast with multiple formats for every release. Each of the group's six albums has not only been re-remastered (this time by the remaining band members plus original engineer Bruce Botnick as the "40th anniversary mix"), but loaded up with a bevy of previously unreleased bonus tracks. But that's not it--for each album, there's a companion DVD, which includes a whole new 5.1 surround sound mix with more tracks, as well as the usual DVD extras, i.e., photo galleries, lyrics, and videos. That makes 12 discs, much of it essentially redundant. If you're cool with that, you're in for a treat. From the spookier, unissued version of "Indian Summer" to the entirely new tune "Push Push" and some super-rad footage of the band rehearsing L.A. Woman, it's easy to fall in love with this swirling, highly sexualized, and often brilliant band all over again. --Mike McGonigal \n\nAMAZON.COM CUSTOMER REVIEW (Perception Box) \nCLOSE THE DOOR THIS TIME - 5 STARS FOR THE MUSIC, November 26, 2006\nReviewer: Mitchell Cassman (BUFFALO GROVE, IL United States)\nIt's hard not to look at the 2006 box set Perception without a skeptical eye, since it is not only the third box set of the Doors studio recordings to be released within the course of a decade, it is the second in a row to purport to house the "complete studio recordings" of a group that released six studio albums -- and this doesn't count the live sets and hits comps that have appeared during that decade, either. Needless to say, the band has been packaged, repackaged, and reissued more than most, but just because there has been more Doors boxes than necessary doesn't mean that Perception lacks value. Indeed, it trumps the 1999 box The Complete Studio Recordings in every sense, since it covers the same territory in a set that is better packaged and better-sounding while also offering many more rarities. It also offers brand-new remasters supervised by the surviving band and their original producer Bruce Botnick, highlighted by the first-ever release of the classic debut album at its proper speed; apart from that, the improvements are by and large marginal in terms of the CD audio, but there are also 5.1 surround mixes of each of the albums on the DVD-Audios that accompany each album in this set, which are the primary sonic enticements to those who have already purchased these albums two, three, four times on CD. The bonus material and each of the albums have bonus tracks, ranging from two cuts on L.A. Woman to ten on Morrison Hotel by and large presents songs that have been official releases before (including much of the music from the Essential Rarities disc that was included in the 1999 box), but there have been a handful of rarities excavated for this set, including the unheard "Push Push" which has been added to The Soft Parade. All this makes Perception into what the 1999 box promised to be in its title: the complete recorded works, more or less, and it's better-looking and better-sounding, too. Even so, any fan who has purchased the prior sets would be forgiven if they passed on this otherwise excellent box: no matter how well-done it is, it's hard not to shake the perception that you've bought this all before. \n\nAMAZON.COM CUSTOMER REVIEW (Perception Box) \n*****, November 22, 2006\nReviewer: Craig (Newport Beach, CA)\nI had bought a couple Doors CD's recently to replace my vinyl records, and was on my way to buying all six Doors studio albums on CD, when I heard about "Perception" coming out, so held off. I bought "Perception" yesterday and finished listening to the set today, and am very pleased. I bought the "Doors Box Set" a few years ago and was very disappointed with that. But I really like "Perception." Maybe it's just my personal taste, but when bands try to pass off recordings of live performances as collectors' gems, I'm never ever thrilled. I just don't get too thrilled listening to live performances on record (which is why I'm not keen on the "Box Set"). What I love are studio outtakes. And that's why I love "Perception" so much. To hear the studio version of "The Celebration of the Lizard" is really wonderful. I much prefer it to the version on "Absolutely Live." To hear the development of "Roadhouse Blues" over multiple takes, with Paul Rothchild encouraging the Doors in his hilariously dated sounding hippy-speak is wonderful. To hear--during a work up of "Peace Frog"--Jim mildly berate the other Doors for sounding like "a drunk cripple" walking up "drunken stairs" (and he's right, they're playing is way off!) is a treat. And even though it's literally snippets of seconds, to finally hear the original studio version of "Break on Through" with Jim singing "She gets HIGH," before "HIGH" was edited out, is great. Also on "The Doors" album in this set, the mix for "The End" is like the "Apocalypse Now" version, in that Jim's ranting toward the climax is brought forward, so you can hear him say, "eff me, babe." That was mixed down in the original album because of the profanity. The Doors liked how Coppola remixed the song for "Apocalypse Now," so they obviously took Coppola's remix as inspiration when remixing "The End" in this "Perception" set. The other studio outtakes are great, too (especially of "Touch Me" and "Moonlight Drive," meaning the "Moonlight Drive" take that was not on the "Box Set," of course). These outtakes are fairly plentiful on "Perception" and that's why I like it. \n\nP.S. Rasmey Lewis fans will love the instrumental bonus track titled "Push Push" at the end of the "Soft Parade" disc, because Ray's piano playing and the song itself are wonderfully derivative of Ramsey Lewis's song "The 'In' Crowd."\n\nHalf.com Details (Perception Box)\nProducer: Bruce Botnick, Paul Rothchild \n\nAlbum Notes\nThe Doors: Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums).\n\nAdditional personnel: Marc Benno (guitar); G. Puglese (harmonica); Jerry Scheff (bass instrument); Lonnie Mack, Ray Neopolitan (bass guitar).\nRecording information: 1967 - 1971.\n\nTo celebrate the Doors' 40th anniversary, Rhino is releasing this incredible box set with six CDs and six DVDs, including remastered album tracks, bonus tracks (some never released), music videos, archival film footage, and lyrics. This ambitious, sprawling offering drops November 21.\n\nREVIEWS OF THIS TITLE: (L.A. Woman)\n\nAMG EXPERT REVIEW: The final album with Morrison in the lineup is by far their most blues-oriented, and the singer's poetic ardor is undiminished, though his voice sounds increasingly worn and craggy on some numbers. Actually, some of the straight blues items sound kind of turgid, but that's more than made up for by several cuts that rate among their finest and most disturbing work. The seven-minute title track was a car-cruising classic that celebrated both the glamour and seediness of Los Angeles; the other long cut, the brooding, jazzy "Riders on the Storm," was the group at their most melodic and ominous. It and the far bouncier "Love Her Madly" were hit singles, and "The Changeling" and "L'America" count as some of their better little-heeded album tracks. An uneven but worthy finale from the original quartet. -- Richie Unterberger\n\nAmazon.com Editorial Review\nThis is the Doors' blues album, their best since their 1967 self-titled debut and their last before singer Jim Morrison died in 1971. The band sounds very inspired here, particular after lackluster efforts like Waiting for the Sun and The Soft Parade. This inspiration is demonstrated in the awesome boogie of "The Changeling" and "L.A. Woman," the lazy blues of "Cars Hiss by My Window," and the very pretty "Hyacinth House" (featuring the great line "I see the bathroom is clear"). Although Morrison not surprisingly takes himself too seriously at times, as in his spoken-word ranting in "The Wasp (Texas Radio and the Big Beat)," Ray Manzarek's keyboards and Robby Krieger's bottleneck guitar both shine, helping to make L.A. Woman a minor rock & roll classic. --Andy Boynton \n\nCD Now Review\nJim Morrison Died July 3, 1971\n\nIt's somewhat ironic that such an American (or to some Anti-American) icon as Jim Morrison died the day before the Fourth of July. \n\nBorn December 8, 1943, the legendary frontman of the Doors was found dead in a Paris bathtub in 1971. Cause of death: "heart attack induced by respiratory problems." Was it really drugs, alcohol? Does it matter any more? \n\nLike a combination of Elvis and James Dean fueled by surrealist poetry, Morrison has been hailed as a shaman and visionary in more than two decades of canonization. But the mysteries of his death and his youthful age at the time often deter us from the true legacy left by his music. \n\nThe band made its mark immediately with its 1967 debut album, The Doors. It featured radio staples like "Light My Fire" and "Break On Through," and forged a signature sound of Ray Manzarek's electric organ (and bass pedals), sketched and delineating guitar from Robbie Kreiger, a steady beat by John Densmore and Morrison, playing out a personal psychodrama for fun and profit. However, subsequent releases found them stretching their sound, often successfully, from the inclusion of horns to Morrison's (some would say self-indulgent) out-of-the-body sonic poetics. \n\n\nBy 1971, the band seemed to come full circle stylistically with the album one could call their Abbey Road -- L.A. Woman. Here we find the band reaching a new dynamic peak as they return to combination of blues and jazz textures set to rhythms fit for America's driving metropolis. \n\nWith the help of rhythm guitarist Marc Benno and bassist Jerry Scheff, the band's out of the gate with the stomp of "The Changeling," Morrison already on the prowl. There's a high gear maneuver into the mad keyboard dance of "Love Her Madly," then a sideways downshift for the nearly backporch, delta styled blues of "Been Down So Long." \n\nThe epic title song has become perhaps an overplayed airwave item over the past 28 years, but listen to it again. The revved up opening to take us onto the freeway, then the traffic jam slow down, 'till Morrison intones one of his greatest lines, "Mr Mojo rising" again and again. For America, a land in turmoil, is searching for its true heart and wonders if it will be found. \n\nThings get personal on "Crawling King Snake," as Morrison rips at his own sex god reputation, leather pants and all. "Texas Radio and the Big Beat," is the out of town road trip, where the signal is strong in wide-open spaces. \n\nThe album closes with "Riders on the Storm," the music matching the pattern of the rain and thunder sound effects; creating probably the greatest electric piano ever laid down on recording tape. Morrison's nightmare killer is an acknowledgement that California, as the home of forever sunshine, is a myth. \n\nL.A. Woman was remarkable and unexpected, more than a return to form for a band many already assumed was over. The album returned the Doors to the Top Ten in June of 1971. Less than a month later, Jim Morrison was gone. --Darryl Morden\n\nRolling Stone (5/27/71, p.49) - "...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..." \n\nNew Musical Express (9/18/93, p.19) - Ranked #41 in NME's list of The Greatest Albums Of The '70s. \n\nCD Connection Review:\nAdditional personnel: Marc Benno (guitar); Jerry Scheff (bass). \n\nRecorded at The Doors Workshop, Los Angeles, California. \n\nThe 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 such pressures aside and recorded several of their most memorable compositions. The musicianship is uniformly excellent, the interplay between guitarist Robbie Krieger and keyboard player Ray Manzarek exudes confidence and empathy, while the strength and nuances of Morrison's voice add an unmistakable resonance. His death within weeks of the album's completion inevitably casts a pall over its content, especially the eerie rain and the funereal electric piano of 'Riders On The Storm'. YEAR: 1971
This rock cd contains 12 tracks and runs 58min 21sec.
Freedb: bc0dab0c
Buy: from Amazon.com

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