artistically, miami or not, paris (or somewhere chill for jim) made a lot of sense. late '69-'70 was very tough on his & the band's psyche & physical constitution. jim needed the long holiday echoed in riders. the seedy, dark side of LA also seemed to be enveloping his spirit as opposed to enlightening it. You can hear that sentiment in la woman. the magic lady was getting cancerous. the rfk assassination, the manson murders, the hardening of the drug scene etc was weighing a psychic toil, esp on artistic spirits who fed off the vibe of the city.
assuming, that the judicial issues indeed blew over by '72 & jim was able to rest & rejuvinate his spirits away from the pressure & ghoulish party scene, it would seem logical he would again gravitate back soon to the doors workshop. it's what he did well & in good conditions, it enriched him. La woman, esp considering all the outside pressures, was excellent work. they had staked out a new mature vein coming out of morrison hotel & fans were responding to the music & not the side act. thats what jim wanted & assuming he got rejuvinated & decoupled legally, it wouldve only got stronger. they really weren't in a bottomless hole, that many in the press seemed to imply. They just needed some issues resolved & the pieces of restructuring to fall into place.
during that same era, you saw some other major artist doing the same (w/ less direct pressure on them then the doors) house cleaning to positive effect. dylan, retreated from his own unsustainable '66 madness (the motorcycle wreck was a cover imo) to come back w/ a very productive juncture of his career spanning jw harding thru planet waves. neil young did his strongest material w/ crazy horse coming after the woodstock era stint w/ csny. the allmans, even after losing their gifted brother, also flourished thru the first half of the '70's.
taking la woman as the template, the doors had a nice oppty infront of them. they wouldnt have to suffer being attached to the dying san fran psychedelia sound. they had grown and carved out a unique niche. riders was well timed, not only echoing a darker coda of the past era of the culture but a vision out. it was honest about the decay, but also forward sounding & thinking. you would have to also assume they would've added a bass player & gone w/ a bigger sound, capitalizing on the studio developments of that period. yet, their unique lean signature wouldve certainly also been maintained.
they not only had access to a strong deck, but held various suits in their hand. they couldve grown off the bigger churn sound that roadhouse had wh/ bands like the who & zep & soon zztop were taking to a new level. but unlike others, they also had the amer mystery card, few if any bands could bind together. Think of an expansion of the themes & sounds in songs like riders, wasp & lamerica & it couldve got very interesting. a more sinister underbelly that bands like ccr, allmans couldnt get to. A vision that was singulary amer that the stones, who, zep also couldnt penetrate. This again would be combined w/ the band's arrangement skills & studio experience along w/ access to a larger sound.
ive never heard it stated, but i cant help but think that to some degree the eagles & zevon (in their most thoughtful work) to their credit filled a vacum the doors were already carving out. gotta feel w/ a healthy, focused & spirited jim, '72-'75 wouldve tapped into the lode artery that la woman was already nearing.
Edited by the_manassa_mauler_1919-'26, 03 April 2013 - 01:03 AM.