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The Doors L.A. Woman 2LP 45rpm Vinil 200gr Doug Sax Bruce Botnick Analogue Productions QRP 2012 USA

Artista: The Doors
Título: L.A. Woman
Número de Catálogo: EKS-75011 / APP 75011-45
Editora: Elektra
Reeditado por: Analogue Productions
Código de Barras: 753088501173
Ano da edição original: 1971
Ano da reedição: 2012
Quantidade de discos: 2
Rotações por minuto: 45 rpm
Tamanho do disco: 12"
Gramagem do Vinil: 200gr
Edição Limitada: Sim
Peso Total do Artigo: 732gr
País prensagem: USA
Produzido para o Mercado de: USA
Adicionado ao catálogo em: 14 Maio, 2017
Colecção: Analogue Productions The Doors 45
Vinyl Gourmet TOP 100 Audiófilo: Sim
Nota: Nunca elegível para descontos adicionais
Vinyl Gourmet Club: Não


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Preço Unitário (c/ IVA): 62,51 €

Referência: AP455011GF

Disponibilidade: Em Breve

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A Analogue Productions e a Quality Record Pressings têm a honra de anunciar as reedições dos The Doors, os seis álbuns de estúdio apresentados em Capas Gatefold Deluxe com 2LP Vinil Audiófilo 200 Gramas, e corte a 45rpm. Masterização analógica por Doug Sax e supervisão de Bruce Botnick, o lendário produtor/engenheiro dos The Doors, estes grandes álbuns têm agora o melhor som de sempre, glorioso som puro analógico!



Rolling Stone 500 Melhores Albums de Todos os Tempos posição 364/500

TAS Super LP List - The Absolut Sound 

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  • Edição Limitada
  • 2LP 45rpm Vinil Audiófilo 200 Gramas
  • Prensagem na Quality Record Pressings, USA
  • Masterizado por Doug Sax com Sistema a Válvulas
  • Corte a partir das Master Tapes Analógicas Originais
  • Supervisão de Bruce Botnick engenheiro dos The Doors
  • Capa Gatefold Deluxe



Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 200-gram vinyl, pressed at 45 rpm. All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.

A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby! This is no time to wallow in the mire. The Doors are on Analogue Productions!

Technical notes about the recording process by The Doors producer/engineer Bruce Botnick:

"Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate.

"If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue eight-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, three-track. On EKS-74007, The Doors, we used four-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room.

"When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters." - Bruce Botnick, July 2012

The title track from this, the last Doors album recorded with Jim Morrison, who died shortly after it was released, has, said one reviewer, “maybe the best Chuck Berry riffs since the Stones.” And that’s not even mentioning “Love Her Madly,” which became one of the highest charting hits for The Doors.

“Love Her Madly,” was written by Doors guitarist Robbie Krieger, who is said to have penned the song about the numerous times his girlfriend threatened to leave him. The song peaked at No. 11 on the Billboard Hot 100 singles chart and reached No. 3 in Canada. L.A. Woman was still high on the charts when, like in the lyric “actor out on loan” of its closing track — the celebrated “Riders on the Storm,” Jim Morrison died in a Paris bathtub in the summer of 1971.

Via such tracks as “The Changeling,” “Crawling King Snake,” and the frothy, rollicking title track, the collection leaned heavily toward the Blues — in particular, Morrison’s boastful “Lizard King” brand of it. All-in-all, Rolling Stone proclaimed L.A. Woman, “The Doors’ greatest album, including their first,” and “A landmark worthy of dancing in the streets.”

"Jim Morrison said that the Doors wanted to "get back to what we did originally: just be very primitive in our approach, very relaxed." Recorded in their rehearsal room with Morrison's mike set up in the bathroom, this was a bluesier, confident Doors, including "Love Her Madly" and "Riders on the Storm." Morrison died soon after." - Rolling Stone





Jim Morrison, vozs
Robby Krieger, guitarra
Ray Manzarek, piano, orgão
John Densmore, bateria
Jerry Scheff, baixo
Marc Benno, guitarra ritmo


Lista de Faixas:


LP 1 Lado A
01. The Changeling
02. Love Her Madly
03. Been Down So Long

LP 1 Lado B
04. Cars Hiss By My Window
05. L.A. Woman

LP 2 Lado C
06. L’America
07. Hyacinth House
08. Crawling King Snake

LP 2 Lado D
09. The WASP (Texas Radio And The Big Beat)
10. Riders On The Storm


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