Label: DCC Compact Classics (US), GZS-1034
Style: Classic Rock
Country: Los Angeles, California, U.S.
Time: 49:00
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb
Charts:
US #9, AUS #9, CAN #11, FRA #4, NLD #1, NOR #15, UK #28. SWI, AUT, GER
& UK: Gold; FRA: 2x Platinum; US & CAN: 3x Platinum; AUS: 4x
Platinum.
Besides being heavy in their early days the Doors were
funny too. Funnier than a fish. Who can ever forget those great Morrison
ad libs like the one he once did during a lull in “Gloria” (“Little
girl how old are you. little girl what school do you go to, little girl
suck my cock”)? He was an earnest drinker, which of course helped. Now
he’s drinking more than ever, hence there’s some material basis for all
the laughs. And since heaviness has been kicked in the ass of late all
the kickers owe it to themselves to sit down with this one. There isn’t
one serious cut on the entire album.
Just consider the extent to
which Jimbo’s snake and lizard obsessions contributed to the wanton
slaughter of zillions of members of the earth’s reptile population for
the sake of boots and belts. His influence on that and other fashion
trends has to be considerable, an absurd fact considering how the man
himself has been literally abandoned by the hippos of rock fandom during
his darkest hours. Well now he’s taking no chances about being taken
seriously or with universal import. In fact he’s not even writing his
own snake lyrics anymore. Instead there’s John Lee Hooker’s “Crawling
King Snake.” a whopper of a readymade and proof positive that he and his
boy, are still listening to the roots, even after the death of Al
Wilson (don’t forget that Canned Heat was once L.A.’s number one comedy
band. On it Morrison demonstrates his final grasp of all the vocal
chicanery only hinted at in flashes on “Love Street.” Which means he’s
finally found complete security in caution-to-the-winds Hollywood
lemonade singing, the mid-point between bubble gum and a good chance at
being invited to sing an Oscar nomination at the 1972 Academy Awards.
And
he’s even a fair-to-middlin’ blues gomper because for the first time he
honestly doesn’t give a donut about how authentic or any of that the
whole thing sounds. He was never actually Fric Burdon but his
trans-racial bravado at least hinted at some intent in that direction.
Now all the cards are on the table. Just check out “Cars Hiss by My
Window” and compare it to the halfassed blues attempts of fellow
Southern Californian Captain Beefheart and see who’s got the greater
vestige of potentially galling pretentiously indulgent self-esteem. (If
you don’t admit it’s the noble Captain then you can’t have much of a
sense of either humor or fair play.)
And what’s more Jim’s backup
band has finally reduced its approach to one of ping-ponging the
essential free-as-air spirit the man’s been toying with ever since be
abandoned Howlin’ Wolf for Mel Torme. In other words the Doors have
never been more together, more like the Beach Boys, more like Love (the
band they originally played second fiddle to at the Whiskey or the
troubadour or wherever it was). So when it’s Morrison setting the tone
with lines like “Why did you throw the jack of hearts away?” on
“Hyacinth House,” it’s Manzarck, Robbie and Densmore keeping the
second-to-second ridiculousness going on and on with merrygoround
tirades of utter mere pleasantness straight out of Derek and the
Dominoes with even some Kokomo-classical fancy stepping thrown in for
good measure. 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.
(rollingstone.com/music/music-album-reviews/l-a-woman-252558/) Review by Robert Meltzer. May 27, 1971
01. The Changeling (04:22)
02. Love Her Madly (03:22)
03. Been Down So Long (04:44)
04. Cars Hiss By My Window (04:12)
05. L.A. Woman (07:52)
06. L'America (04:37)
07. Hyacinth House (03:13)
08. Crawling King Snake (05:02)
09. The Wasp (Texas Radio and the Big Beat) (04:16)
10. Riders On The Storm (07:14)
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