L.A. Woman was the Doors last rumble of an album released in the spring of 1971, just a few months before Jim Morrison went off the deep end in his own bathtub in Paris.
It is impending doom, the ominous road ahead, the wasted dawn. It is claustrophobic, paranoid.
A cold girl will kill you
In a darkened room
It also may be the Doors finest moment on record. Let the debate begin.
Hard rocking and soulful, L.A. Woman is bleak, moody and most certainly evil. It is Bukowski’s Los Angeles. A Rumination on the dark undercurrent of the pristine California Dream.
There’s a killer on the road
His brain is squirming like a toad
The rock press has always held the Doors self-titled 1967 debut as the band’s defining moment, the revolutionary sonic howl, with successive albums charting the painful decline of the band’s unique vision.
But L.A. Woman is the complete Doors from beginning to end; the roadhouse blues, tone poems, the psych-pop and mystic jazz rock. It is all here. The brawling American mosaic that is the Doors at their violent, shimmering best and the final outpost of a brilliant, if doomed, career.
Most of the world is familiar with the iconic photos of Jimbo in full flight, on-stage and potentially dangerous. Lesser known are Frank Lisciandro’s photographs of the Doors at work during the L.A. Woman sessions. His photos capture the making of their swan song, a fitting tombstone to one of the truly great American bands.
Dig L.A. Woman and the images that map its creation.
Out here we is stoned – immaculate!

Photographs by Frank Lisciandro
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