Вообще весь альбом достойный. Это их первый, они ещё не повстречали Маруську и её цыганский табор.
Странно вообще, какой-то подростковый голландско-венгерский ансамбль, а звучит лучше большинства американских гаражных групп того времени. И это ещё 68-й — Битлз ещё вовсю и Дорз, Хендрикс и Джоплин. Хотя ну да, у них же там в Голландии известное месторождение... тюльпанов, например.
According to band member Robby Krieger, it was inspired by the song «(Ghost) Riders in the Sky: A Cowboy Legend».
Riders... has this mood, it originally came from us jamming on this Ghost Riders In The Sky...
We're jamming and it's got this Western, Clint Eastwood mood...
And from there, it morphed into more of like a...
And it kind of turned into Riders On The Storm. Jim changed the words from «ghost riders in the sky» to «riders on the storm». I said «That's great, Riders On The Storm, but we can't do Vaughn Monroe 'the old cowpoke went riding out one dark and windy day'».
So I said «Let me see what I can do» and here's what I came up with... We gotta put some jazz to it, make it dark. And sure enough, this is what happened...
L.A. Woman is the sixth studio album by The Doors, and the last recorded with lead singer Jim Morrison, who died in July 1971, less than 3 months after the album's release. Its style signified a return to blues, following in the footsteps of Morrison Hotel.Following the departure of their record producer Paul A. Rothchild (who, contrary to popular myth, loved «Riders on the Storm» but dismissed the group's differing style on «Love Her Madly» as «cocktail music») around November 1970, the band fell in to a state of depression and Jim Morrison was obviously bored with Sunset Sound, the studio in which their first two albums were recorded.
Bruce Botnick, their engineer, suggested they record at the Doors' workshop. He and the band 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. Morrison recorded his singing in the studio's bathroom to get a fuller sound. Elvis Presley's bass player Jerry Scheff was brought in to play bass on the album, and rhythm guitarist Marc Benno was brought in so that Robbie Krieger could focus on playing lead guitar during live takes.