By now, an appreciation of the music made between 1965 and 1970 practically seems like American birthright. That’s precisely why so many people criticize the Baby Boomers for their numbers, their stranglehold over the pop culture dialogue, and sheer inability to do anything but canonize that era as a pure vortex of paisley excellence. But much as I’d like to argue, I can’t. The psychedelic era was a good time for rock, folk, jazz, soul, and flat-ironed hair.
The Doors are one of those bands that people love to hate. They’re bombastic and silly and Jim Morrison’s antics can reek of the worst 60s indulgence. They also had great riffs, interesting musical ideas, and one one of the finest lead singers in the history of rock. You don’t throw the baby out with the bourbon. For me, LA Woman is the masterpiece. You can mock the Age of Aquarius absurdities of the earlier joints. You can pick out the duds (“Horse Latitudes” anyone). But you can’t do that with LA Woman. It’s the 70s and it’s the blues. It’s the album that solidified the Doors’ discography as one of the most formidable in history. Every great band needs at least one unassailable record. In their latest issue, the LA Weekly gave me the cover and essentially let me run wild. Interviews with all the surviving Doors, their producer Bruce Botnick, their label boss Jac Holzman, Beat poet Michael McClure, crit-legend Greil Marcus. No gasoline fare spared. Link below. The complete Doors Live at the Hollywood Bowl (thanks YouTube) and MP3’s below the jump. Afterwards, listen to the record while driving on a freeway.
LA Weekly: The Doors’ LA Woman was their Bluesy Masterpiece
Download:
MP3: The Doors-“LA Woman”
