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DISCID=bc0dab0c
DTITLE=The Doors / Perception (Disc 6 - L.A. Woman)
DYEAR=1971
DGENRE=Rock
TTITLE0=The Changeling
TTITLE1=Love Her Madly
TTITLE2=Been Down So Long
TTITLE3=Cars Hiss By My Window
TTITLE4=L.A. Woman
TTITLE5=L'America
TTITLE6=Hyacinth House
TTITLE7=Crawling King Snake
TTITLE8=The WASP (Texas Radio And The Big Beat)
TTITLE9=Riders On The Storm
TTITLE10=Orange County Suite
TTITLE11=(You Need Meat) Don't Go No Further
EXTD=Perception - Disc 6 of 6 (L.A. Woman)\n2006 Elektra/Rhino\n\nThis
EXTD= Compilation (Perception Box) Released November 21, 2006\n''L.A. 
EXTD=Woman'' Originally Released April 1971\n''L.A. Woman'' CD Edition
EXTD= Released ??\n''L.A. Woman'' Remastered CD Edition Released May 1
EXTD=988\n''L.A. Woman'' DCC Gold CD Edition Released April 9, 1993\n'
EXTD='L.A. Woman'' Released as Part of ''Complete Studio Recordings'' 
EXTD=Cube Compilation Released November 9, 1999\n''L.A. Woman'' 96K Re
EXTD=mastered CD Edition Released July 2000\n''L.A. Woman'' DVD-Audio 
EXTD=Released December 19, 2000\n''L.A. Woman'' Released as Part of ''
EXTD=Complete Studio Recordings'' longbox Compilation Released Septemb
EXTD=er 9, 2003\n\n\nAMG EXPERT REVIEW: (Perception Box) It's hard not
EXTD= to look at the 2006 box set Perception without a skeptical eye, 
EXTD=since it is not only the third box set of the Doors studio record
EXTD=ings to be released within the course of a decade, it is the seco
EXTD=nd in a row to purport to house the "complete studio recordings" 
EXTD=of a group that released six studio albums -- and this doesn't co
EXTD=unt the live sets and hits comps that have appeared during that d
EXTD=ecade, either. Needless to say, the band has been packaged, repac
EXTD=kaged, and reissued more than most, but just because there has be
EXTD=en more Doors boxes than necessary doesn't mean that Perception l
EXTD=acks value. Indeed, it trumps the 1999 box The Complete Studio Re
EXTD=cordings in every sense, since it covers the same territory in a 
EXTD=set that is better packaged and better-sounding while also offeri
EXTD=ng many more rarities. It also offers brand-new remasters supervi
EXTD=sed by the surviving band and their original producer Bruce Botni
EXTD=ck, highlighted by the first-ever release of the classic debut al
EXTD=bum at its proper speed; apart from that, the improvements are by
EXTD= and large marginal in terms of the CD audio, but there are also 
EXTD=5.1 surround mixes of each of the albums on the DVD-Audios that a
EXTD=ccompany each album in this set, which are the primary sonic enti
EXTD=cements to those who have already purchased these albums two, thr
EXTD=ee, four times on CD. The bonus material -- and each of the album
EXTD=s have bonus tracks, ranging from two cuts on L.A. Woman to ten o
EXTD=n Morrison Hotel -- by and large presents songs that have been of
EXTD=ficial releases before (including much of the music from the Esse
EXTD=ntial Rarities disc that was included in the 1999 box), but there
EXTD= have been a handful of rarities excavated for this set, includin
EXTD=g the unheard "Push Push" which has been added to The Soft Parade
EXTD=. All this makes Perception into what the 1999 box promised to be
EXTD= in its title: the complete recorded works, more or less, and it'
EXTD=s better-looking and better-sounding, too. Even so, any fan who h
EXTD=as purchased the prior sets would be forgiven if they passed on t
EXTD=his otherwise excellent box: no matter how well-done it is, it's 
EXTD=hard not to shake the perception that you've bought this all befo
EXTD=re. -- Stephen Thomas Erlewine\n\nAmazon.com Editorial Review (Pe
EXTD=rception Box) \nFor years, the recording industry has asked fans 
EXTD=to purchase the same music from the 1960s and '70s over and over 
EXTD=again, via remasterings, repackagings, and, of course, reformatti
EXTD=ngs. The Doors' box Perception (get it?), cleverly packaged as...
EXTD= a door, does hold some astonishing music, but the thing itself i
EXTD=s a weird hybrid beast with multiple formats for every release. E
EXTD=ach of the group's six albums has not only been re-remastered (th
EXTD=is time by the remaining band members plus original engineer Bruc
EXTD=e Botnick as the "40th anniversary mix"), but loaded up with a be
EXTD=vy of previously unreleased bonus tracks. But that's not it--for 
EXTD=each album, there's a companion DVD, which includes a whole new 5
EXTD=.1 surround sound mix with more tracks, as well as the usual DVD 
EXTD=extras, i.e., photo galleries, lyrics, and videos. That makes 12 
EXTD=discs, much of it essentially redundant. If you're cool with that
EXTD=, you're in for a treat. From the spookier, unissued version of "
EXTD=Indian Summer" to the entirely new tune "Push Push" and some supe
EXTD=r-rad footage of the band rehearsing L.A. Woman, it's easy to fal
EXTD=l in love with this swirling, highly sexualized, and often brilli
EXTD=ant band all over again. --Mike McGonigal \n\nAMAZON.COM CUSTOMER
EXTD= REVIEW (Perception Box) \nCLOSE THE DOOR THIS TIME - 5 STARS FOR
EXTD= THE MUSIC, November 26, 2006\nReviewer: Mitchell Cassman (BUFFAL
EXTD=O GROVE, IL United States)\nIt's hard not to look at the 2006 box
EXTD= set Perception without a skeptical eye, since it is not only the
EXTD= third box set of the Doors studio recordings to be released with
EXTD=in the course of a decade, it is the second in a row to purport t
EXTD=o house the "complete studio recordings" of a group that released
EXTD= six studio albums -- and this doesn't count the live sets and hi
EXTD=ts comps that have appeared during that decade, either. Needless 
EXTD=to say, the band has been packaged, repackaged, and reissued more
EXTD= than most, but just because there has been more Doors boxes than
EXTD= necessary doesn't mean that Perception lacks value. Indeed, it t
EXTD=rumps the 1999 box The Complete Studio Recordings in every sense,
EXTD= since it covers the same territory in a set that is better packa
EXTD=ged and better-sounding while also offering many more rarities. I
EXTD=t also offers brand-new remasters supervised by the surviving ban
EXTD=d and their original producer Bruce Botnick, highlighted by the f
EXTD=irst-ever release of the classic debut album at its proper speed;
EXTD= apart from that, the improvements are by and large marginal in t
EXTD=erms of the CD audio, but there are also 5.1 surround mixes of ea
EXTD=ch of the albums on the DVD-Audios that accompany each album in t
EXTD=his set, which are the primary sonic enticements to those who hav
EXTD=e already purchased these albums two, three, four times on CD. Th
EXTD=e bonus material and each of the albums have bonus tracks, rangin
EXTD=g from two cuts on L.A. Woman to ten on Morrison Hotel by and lar
EXTD=ge presents songs that have been official releases before (includ
EXTD=ing much of the music from the Essential Rarities disc that was i
EXTD=ncluded in the 1999 box), but there have been a handful of rariti
EXTD=es excavated for this set, including the unheard "Push Push" whic
EXTD=h has been added to The Soft Parade. All this makes Perception in
EXTD=to what the 1999 box promised to be in its title: the complete re
EXTD=corded works, more or less, and it's better-looking and better-so
EXTD=unding, too. Even so, any fan who has purchased the prior sets wo
EXTD=uld be forgiven if they passed on this otherwise excellent box: n
EXTD=o matter how well-done it is, it's hard not to shake the percepti
EXTD=on that you've bought this all before. \n\nAMAZON.COM CUSTOMER RE
EXTD=VIEW (Perception Box) \n*****, November 22, 2006\nReviewer: Craig
EXTD= (Newport Beach, CA)\nI had bought a couple Doors CD's recently t
EXTD=o replace my vinyl records, and was on my way to buying all six D
EXTD=oors studio albums on CD, when I heard about "Perception" coming 
EXTD=out, so held off. I bought "Perception" yesterday and finished li
EXTD=stening to the set today, and am very pleased. I bought the "Door
EXTD=s Box Set" a few years ago and was very disappointed with that. B
EXTD=ut I really like "Perception." Maybe it's just my personal taste,
EXTD= but when bands try to pass off recordings of live performances a
EXTD=s collectors' gems, I'm never ever thrilled. I just don't get too
EXTD= thrilled listening to live performances on record (which is why 
EXTD=I'm not keen on the "Box Set"). What I love are studio outtakes. 
EXTD=And that's why I love "Perception" so much. To hear the studio ve
EXTD=rsion of "The Celebration of the Lizard" is really wonderful. I m
EXTD=uch prefer it to the version on "Absolutely Live." To hear the de
EXTD=velopment of "Roadhouse Blues" over multiple takes, with Paul Rot
EXTD=hchild encouraging the Doors in his hilariously dated sounding hi
EXTD=ppy-speak is wonderful. To hear--during a work up of "Peace Frog"
EXTD=--Jim mildly berate the other Doors for sounding like "a drunk cr
EXTD=ipple" walking up "drunken stairs" (and he's right, they're playi
EXTD=ng is way off!) is a treat. And even though it's literally snippe
EXTD=ts of seconds, to finally hear the original studio version of "Br
EXTD=eak on Through" with Jim singing "She gets HIGH," before "HIGH" w
EXTD=as edited out, is great. Also on "The Doors" album in this set, t
EXTD=he mix for "The End" is like the "Apocalypse Now" version, in tha
EXTD=t Jim's ranting toward the climax is brought forward, so you can 
EXTD=hear him say, "eff me, babe." That was mixed down in the original
EXTD= album because of the profanity. The Doors liked how Coppola remi
EXTD=xed the song for "Apocalypse Now," so they obviously took Coppola
EXTD='s remix as inspiration when remixing "The End" in this "Percepti
EXTD=on" set. The other studio outtakes are great, too (especially of 
EXTD="Touch Me" and "Moonlight Drive," meaning the "Moonlight Drive" t
EXTD=ake that was not on the "Box Set," of course). These outtakes are
EXTD= fairly plentiful on "Perception" and that's why I like it. \n\nP
EXTD=.S. Rasmey Lewis fans will love the instrumental bonus track titl
EXTD=ed "Push Push" at the end of the "Soft Parade" disc, because Ray'
EXTD=s piano playing and the song itself are wonderfully derivative of
EXTD= Ramsey Lewis's song "The 'In' Crowd."\n\nHalf.com Details (Perce
EXTD=ption Box)\nProducer: Bruce Botnick, Paul Rothchild \n\nAlbum Not
EXTD=es\nThe Doors: Robby Krieger (guitar); Ray Manzarek (keyboards); 
EXTD=John Densmore (drums).\n\nAdditional personnel: Marc Benno (guita
EXTD=r); G. Puglese (harmonica); Jerry Scheff (bass instrument); Lonni
EXTD=e Mack, Ray Neopolitan (bass guitar).\nRecording information: 196
EXTD=7 - 1971.\n\nTo celebrate the Doors' 40th anniversary, Rhino is r
EXTD=eleasing this incredible box set with six CDs and six DVDs, inclu
EXTD=ding remastered album tracks, bonus tracks (some never released),
EXTD= music videos, archival film footage, and lyrics. This ambitious,
EXTD= sprawling offering drops November 21.\n\nREVIEWS OF THIS TITLE: 
EXTD=(L.A. Woman)\n\nAMG EXPERT REVIEW: The final album with Morrison 
EXTD=in the lineup is by far their most blues-oriented, and the singer
EXTD='s poetic ardor is undiminished, though his voice sounds increasi
EXTD=ngly worn and craggy on some numbers. Actually, some of the strai
EXTD=ght blues items sound kind of turgid, but that's more than made u
EXTD=p for by several cuts that rate among their finest and most distu
EXTD=rbing work. The seven-minute title track was a car-cruising class
EXTD=ic that celebrated both the glamour and seediness of Los Angeles;
EXTD= the other long cut, the brooding, jazzy "Riders on the Storm," w
EXTD=as the group at their most melodic and ominous. It and the far bo
EXTD=uncier "Love Her Madly" were hit singles, and "The Changeling" an
EXTD=d "L'America" count as some of their better little-heeded album t
EXTD=racks. An uneven but worthy finale from the original quartet. -- 
EXTD=Richie Unterberger\n\nAmazon.com Editorial Review\nThis is the Do
EXTD=ors' blues album, their best since their 1967 self-titled debut a
EXTD=nd their last before singer Jim Morrison died in 1971. The band s
EXTD=ounds very inspired here, particular after lackluster efforts lik
EXTD=e Waiting for the Sun and The Soft Parade. This inspiration is de
EXTD=monstrated in the awesome boogie of "The Changeling" and "L.A. Wo
EXTD=man," the lazy blues of "Cars Hiss by My Window," and the very pr
EXTD=etty "Hyacinth House" (featuring the great line "I see the bathro
EXTD=om is clear"). Although Morrison not surprisingly takes himself t
EXTD=oo seriously at times, as in his spoken-word ranting in "The Wasp
EXTD= (Texas Radio and the Big Beat)," Ray Manzarek's keyboards and Ro
EXTD=bby Krieger's bottleneck guitar both shine, helping to make L.A. 
EXTD=Woman a minor rock & roll classic. --Andy Boynton \n\nCD Now Revi
EXTD=ew\nJim Morrison Died July 3, 1971\n\nIt's somewhat ironic that s
EXTD=uch an American (or to some Anti-American) icon as Jim Morrison d
EXTD=ied the day before the Fourth of July. \n\nBorn December 8, 1943,
EXTD= the legendary frontman of the Doors was found dead in a Paris ba
EXTD=thtub in 1971. Cause of death: "heart attack induced by respirato
EXTD=ry problems." Was it really drugs, alcohol? Does it matter any mo
EXTD=re? \n\nLike a combination of Elvis and James Dean fueled by surr
EXTD=ealist poetry, Morrison has been hailed as a shaman and visionary
EXTD= in more than two decades of canonization. But the mysteries of h
EXTD=is death and his youthful age at the time often deter us from the
EXTD= true legacy left by his music. \n\nThe band made its mark immedi
EXTD=ately with its 1967 debut album, The Doors. It featured radio sta
EXTD=ples like "Light My Fire" and "Break On Through," and forged a si
EXTD=gnature sound of Ray Manzarek's electric organ (and bass pedals),
EXTD= sketched and delineating guitar from Robbie Kreiger, a steady be
EXTD=at by John Densmore and Morrison, playing out a personal psychodr
EXTD=ama for fun and profit. However, subsequent releases found them s
EXTD=tretching their sound, often successfully, from the inclusion of 
EXTD=horns to Morrison's (some would say self-indulgent) out-of-the-bo
EXTD=dy sonic poetics. \n\n\nBy 1971, the band seemed to come full cir
EXTD=cle stylistically with the album one could call their Abbey Road 
EXTD=-- L.A. Woman. Here we find the band reaching a new dynamic peak 
EXTD=as they return to combination of blues and jazz textures set to r
EXTD=hythms fit for America's driving metropolis. \n\nWith the help of
EXTD= rhythm guitarist Marc Benno and bassist Jerry Scheff, the band's
EXTD= out of the gate with the stomp of "The Changeling," Morrison alr
EXTD=eady on the prowl. There's a high gear maneuver into the mad keyb
EXTD=oard dance of "Love Her Madly," then a sideways downshift for the
EXTD= nearly backporch, delta styled blues of "Been Down So Long." \n\n
EXTD=The epic title song has become perhaps an overplayed airwave item
EXTD= over the past 28 years, but listen to it again. The revved up op
EXTD=ening to take us onto the freeway, then the traffic jam slow down
EXTD=, 'till Morrison intones one of his greatest lines, "Mr Mojo risi
EXTD=ng" again and again. For America, a land in turmoil, is searching
EXTD= for its true heart and wonders if it will be found. \n\nThings g
EXTD=et personal on "Crawling King Snake," as Morrison rips at his own
EXTD= sex god reputation, leather pants and all. "Texas Radio and the 
EXTD=Big Beat," is the out of town road trip, where the signal is stro
EXTD=ng in wide-open spaces. \n\nThe album closes with "Riders on the 
EXTD=Storm," the music matching the pattern of the rain and thunder so
EXTD=und effects; creating probably the greatest electric piano ever l
EXTD=aid down on recording tape. Morrison's nightmare killer is an ack
EXTD=nowledgement that California, as the home of forever sunshine, is
EXTD= a myth. \n\nL.A. Woman was remarkable and unexpected, more than 
EXTD=a return to form for a band many already assumed was over. The al
EXTD=bum returned the Doors to the Top Ten in June of 1971. Less than 
EXTD=a month later, Jim Morrison was gone. --Darryl Morden\n\nRolling 
EXTD=Stone (5/27/71, p.49) - "...In terms of what they're after here t
EXTD=he Doors as a band never falter and there isn't one bummer cut on
EXTD= the entire album--obviously a first for them..." \n\nNew Musical
EXTD= Express (9/18/93, p.19) - Ranked #41 in NME's list of The Greate
EXTD=st Albums Of The '70s. \n\nCD Connection Review:\nAdditional pers
EXTD=onnel: Marc Benno (guitar); Jerry Scheff (bass). \n\nRecorded at 
EXTD=The Doors Workshop, Los Angeles, California. \n\nThe final Doors 
EXTD=album to feature vocalist Jim Morrison reaffirmed the quartet's g
EXTD=rasp of blues/rock. Beset by personal and professional problems, 
EXTD=they retreated to a rehearsal room, cast such pressures aside and
EXTD= recorded several of their most memorable compositions. The music
EXTD=ianship is uniformly excellent, the interplay between guitarist R
EXTD=obbie Krieger and keyboard player Ray Manzarek exudes confidence 
EXTD=and empathy, while the strength and nuances of Morrison's voice a
EXTD=dd an unmistakable resonance. His death within weeks of the album
EXTD='s completion inevitably casts a pall over its content, especiall
EXTD=y the eerie rain and the funereal electric piano of 'Riders On Th
EXTD=e Storm'. 
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