Im drunk Im nobody; Im drunk Im famous; Im drunk Im dead is how US stand up Denis Leary succinctly premised the rubbish Oliver Stone film biopic of The Doors (tagline: No one here gets out awake). Its a shame that such a fine bands legacy has been somewhat tarnished, not only by a turkey of a movie but by the surviving members (well, two of them anyway) strangling what was left of their dignity touring with a selection of rent-o-squawk singers.
Putting all this aside and concentrating on The Doors then, as opposed to how theyre viewed now, this 40th anniversary edition of their sixth and final album, L.A. Woman arrives in what their press office are heralding the Year of The Doors. And very welcome it is too. Truly, this is original blues as Morrison would have it.
L.A. Woman is the sound of a superb bar band finding their feet again after a tumultuous few years of busts and bust ups, of tours and whores and of meltdowns and jack ups. The result is a defining masterpiece of 70s rock that fully deserves its plaudits. The additional tracks on this edition add to the mystique with studio chatter and different takes along with the never before heard (and probably for the best) She Smells So Nice.
So many of the tracks on L.A. Woman have become standards it seems almost futile to discuss them: history has judged that the superior funk of The Changeling stands up well, that L.A. Woman is in itself the best, fastest, driving song in The Doors canon (and probably anywhere) and that Riders On the Storm still holds its mysterious, moody power after 40 years. Yes, we can all snigger at Morrisons clap-trap poetry which was to keep idiot students in quotes for four decades, but equally we can all thrill to Ray Manzareks phenomenal command of the keyboards, knowing just where and when to add another fill or run. His bass playing, along with that of drafted in session genius Jerry Scheff propels this most funky and bluesy of rock albums along.
Most of the album was recorded live at The Doors Workshop (with just a few keyboard overdubs later), the band within touching distance of each other. Its on the alternative takes that you can feel the strength of this set up, as Morrison howls, screams and growls his way through The Changeling, urging an unspecified band member to play your ass off, boy. The Doors feel like a real hard core working blues band with the added bonus of a pretentious singer to keep girls and students interested. But a good singer in fine voice and in seemingly jovial spirits none the less. At one point during take 9 or 10 of Riders on the Storm (the band dont seem entirely sure) he has the inspiration to add the famous storm effects to the start of the track; We could send out to Arizona to get some good thunder!
Three months after the release of the album, Morrison would be found dead in a bath tub in Paris, saving us the misery of the 80s synth years, the duet with Sting and the cash-in reunion tour that would be kicking off about now had he lived longer. L.A. Woman remains a landmark album and this edition contains some excellent new material for anyone interested in The Doors recording process, creative atmosphere and studio vibe. Absolutely essential listening.