John Densmore

No one can denies that The Doors is one of the essentials bands in the history of rock. With tons of charisma (let's not forget that -at the time- Jim Morrison was referred by the press as "the american Mick Jagger"), a very personal sound and with an incredible catalog, The Doors have become not only a key band of the genre, but also a source of inspiration for countless artists. In this triple album, 'The Many Faces Of The Doors' we get into the secret world of the band, with hard-to-find tracks, side projects by its members, remakes and also, their roots. With a great cover art, a selection of songs that took a couple of years of work to secure, a remastered sound and liner notes, The Many Faces Of The Doors is a unique album, which is already being praised by many fans of the band.

L.A. Woman is the sixth and last studio album that the American rock band The Doors recorded with lead singer Jim Morrison, who died in July 1971. The album's style is arguably the most blues rock -oriented of the band's catalog. Following the departure of their record producer Paul A. Rothchild (who dismissed the group's differing style as "cocktail music") around November 1970, the Doors and engineer Bruce Botnick began production on the album at The Doors Workshop in Los Angeles. Most of the tracks were recorded live, except for a few overdubbed keyboard parts by Ray Manzarek. Session musicians Jerry Scheff and Marc Benno entered the studio in January 1971 to put some finishing touches. It is the only Jim Morrison-era studio album which The Doors did not follow up with a concert tour; Morrison had moved to Paris by the time it was released in April 1971 and died three months later on July 3, 1971.

For the first 17 years of their history, the only official live Doors album was Absolutely Live, which had its virtues – especially as it captured elements of their harder, more ambitious repertoire – but also left more casual fans rather cold, owing to the absence of any of their biggest hits. Alive, She Cried helped solve that problem, including as it did a concert version of "Light My Fire" and also adding a legendary concert piece – their rendition of Van Morrison's mid-'60s Them-era classic "Gloria" – to the Doors' official Elektra Records discography…

"Mr. Mojo Risin': The Story of L.A. Woman'" is the story of the making of the Doors' last album with Jim Morrison "L.A. Woman". 2011 is the 40th anniversary of the album's release and this program goes into detail of how the album came about, its recording and what was happening to the band at the time…

The Doors' 1967 albums had raised expectations so high that their third effort was greeted as a major disappointment. With a few exceptions, the material was much mellower, and while this yielded some fine melodic ballad rock in "Love Street," "Wintertime Love," "Summer's Almost Gone," and "Yes, the River Knows," there was no denying that the songwriting was not as impressive as it had been on the first two records. On the other hand, there were first-rate tunes such as the spooky "The Unknown Soldier," with antiwar lyrics as uncompromisingly forceful as anything the band did, and the compulsively riff-driven "Hello, I Love You," which nonetheless bore an uncomfortably close resemblance to the Kinks' "All Day and All of the Night." The flamenco guitar of "Spanish Caravan," the all-out weirdness of "Not to Touch the Earth" (which was a snippet of a legendary abandoned opus, "The Celebration of the Lizard"), and the menacing closer "Five to One" were also interesting. In fact, time's been fairly kind to the record, which is quite enjoyable and diverse, just not as powerful a full-length statement as the group's best albums. Allmusic.

A tremendous debut album, and indeed one of the best first-time outings in rock history, introducing the band's fusion of rock, blues, classical, jazz, and poetry with a knockout punch. Allmusic

The 40th Anniversary Mix presents the first album in speed-corrected form for the first time. The speed discrepancy was brought to Bruce Botnick's attention by a Brigham Young University professor who stated that all the video and audio live performances of The Doors performing "Light My Fire", as well as the sheet music show the song being in a key almost a full half step higher than the LP release. Only the 45 RPM single of Light My Fire, issued in 1967, was produced at the correct speed. Wikipedia.