The Doors – L.A. Woman UHQR

Los Angeles at the end of a shared journey

Released in 1971, L.A. Woman became the Doors’ final studio album with Jim Morrison. Most of the recording took place in late 1970 and early 1971 at the band’s own workshop in Los Angeles. The setting fits the musical direction: blues, rhythm and the interaction of an experienced group move to the centre. Bruce Botnick and the Doors share production credit. The album looks towards a city whose movement and contradictions are suggested by its title, while bringing together several of the band’s best-known songs.

Later events can easily overshadow the music itself. It is worth beginning instead with the actual roles: Morrison sings, Robby Krieger plays guitar, Ray Manzarek piano and organ, and John Densmore drums. Their four personalities shape the record, even as guests expand its sound. Heard this way, L.A. Woman captures a working band reconsidering the balance within its shared language. Blues is an active reference point for phrasing, rhythm and form, rather than simply a historical influence attached to the group’s name.

Jerry Scheff and Marc Benno expand the lineup

Jerry Scheff contributes bass, while Marc Benno adds rhythm guitar on several selections. Benno is documented on “Been Down So Long,” “Cars Hiss By My Window,” “L.A. Woman” and “Crawling King Snake.” These additions change the ensemble’s possibilities. An independent bass line and a second guitar shaping the rhythmic space allow the other musicians to respond differently. The identity remains recognisably the Doors, with additional flexibility inside an already familiar musical vocabulary.

Let attention move between Morrison and the instruments. How do Krieger’s figures respond to a sung line? Where does Manzarek combine rhythmic and harmonic functions? How does Densmore support a shift in intensity? These are direct routes into a record often discussed mainly through its major titles. The ensemble work between those landmarks is equally rewarding. Even a familiar song can reveal something different when the ear follows its foundation rather than simply waiting for an anticipated climax.

From “The Changeling” to “Riders On The Storm”

“The Changeling” opens the album, with “Love Her Madly” providing one of its compact songs. “Been Down So Long” and “Cars Hiss By My Window” move further into blues territory before the title track closes the first side. The second begins with “L’America,” followed by “Hyacinth House,” “Crawling King Snake” and “The WASP (Texas Radio And The Big Beat).” “Riders On The Storm” brings the record to its close. Ten tracks allow concise forms and more extended developments to coexist.

The two especially familiar longer pieces have different roles within that sequence. “L.A. Woman” carries the city’s movement in its very name, while “Riders On The Storm” opens another atmosphere at the end. Between them, the repertoire keeps the connection to blues alive. Playing the complete album reveals more than a collection of individual hits. The order of the songs is part of the experience, giving the music time to move between direct address, storytelling and instrumental development.

UHQR: one LP at 33⅓ RPM

This Analogue Productions UHQR edition, AUHQR 0020, presents the album on one 200-gram Clarity Vinyl LP playing at 33⅓ RPM. Bernie Grundman is responsible for mastering, and the publisher identifies the original analogue master tapes as the source. Quality Record Pressings manufactured the record, with Stan Bishop credited for plating. The release was limited to 4,500 individually numbered copies. These are the specifications of this particular edition, making them more useful than assumptions about what the UHQR format usually contains.

The package includes a UHQR box, a die-cut sleeve modelled on the original, the original insert and supporting material with notes by Ben Fong-Torres. The album remains together across two record sides. For a deliberate listening session, the edition joins a distinctive physical presentation to music deserving attention beyond its legend. The appeal of a carefully made record has a clear focus here: four musicians, their guests and ten songs whose interaction still gives a familiar album something new to reveal.

You order from Michael 45 in Germany. We arrange the US import and dispatch from Hilden. Editions not currently in stock are dispatched after the goods arrive.

Also on SACD: L.A. Woman

Also in another edition: L.A. Woman

More by The Doors: “The Doors” · Morrison Hotel

Artist page: All titles by The Doors

Customer question: Collecting UHQR records: limited editions of great albums

Series: UHQR – all 31 editions with pressing run and mastering

Musicians

Participants and documented credit status. Track references correspond to the tracklist.

• Jim MorrisonvocalsParticipation: Album personnel
• Robby KriegerguitarParticipation: Album personnel
• Ray Manzarekpiano, organParticipation: Album personnel
• John DensmoredrumsParticipation: Album personnel
• Jerry ScheffbassParticipation: Track assignments unconfirmed
• Marc Bennorhythm guitarParticipation: A3, A4, A5, B3

The Doors: Jim Morrison (vocals), Robby Krieger (guitar), Ray Manzarek (piano, organ), John Densmore (drums). With Jerry Scheff (bass) and Marc Benno (rhythm guitar; Been Down So Long, Cars Hiss By My Window, L.A. Woman, Crawling King Snake). Personnel per the original sleeve; track assignments documented for Marc Benno only. Recorded at The Doors’ Workshop, Los Angeles, December 1970 to January 1971. Produced by Bruce Botnick and The Doors; engineered and mixed by Bruce Botnick. This edition: mastered and lacquer cut by Bernie Grundman (Bernie Grundman Mastering) from the original analog master tapes (per the publisher); pressed at Quality Record Pressings; liner notes by Ben Fong-Torres.