The Doors: L.A. Woman — 50th Anniversary Deluxe Edition (Elektra/Rhino, 3 CDs + LP). This sixth Doors studio album was also the last with vocalist/lyricist Jim Morrison. It was recorded in six days and released in April 1971. Morrison would die in Paris three months later. Famously, Paul A. Rothschild stepped away as producer after recording an early version of “Riders on the Storm,” which is included here for the first time. Engineer-mixer Bruce Botnick then stepped in to produce the album and he supervises the remastered original stereo mix here, which makes up the first CD and the vinyl LP. The other two CDs include nearly two hours of newly remixed audio from the multitrack session tapes, only portions of which have been previously released.

To record the album, Botnick recruited bass guitarist Jerry Scheff (Elvis Presley’s TCB band) to help beef up the bottom end, and rhythm guitarist Marc Benno was brought in so less overdubbing would be needed. At times, the album is very complex, so much so that the title track, in which Morrison describes the city of Los Angeles as a woman, had to be worked out and recorded in three different sections.

The album, one of my favorites by the band, still holds up well and saw The Doors return to a free-form, heavily blues-driven sound. I have always loved “Love Her Madly,” “L.A. Woman” and “Riders on the Storm,” the latter being an aural widescreen murder ballad, full of shadowy menace. “Riders” has nice keyboards by Ray Manzarek and opening surf sounds, while “L.A. Woman” has a driving beat and lively piano. Morrison makes for a convincing gravelly bluesman on “Been Down So Long,” “The Changeling” and their cover of John Lee Hooker’s “Crawling King Snake.”

Reportedly, “L.A. Woman” was written for the end of Michelangelo Antonioni’s 1976 film “Zabriskie Point,” but was rejected. Antonioni also rejected music by Pink Floyd. The nice “Hyacinth House” has lyrics that Morrison made up on the spot while looking around guitarist Robby Krieger’s home studio. The other bonus track on the first desk is a demo of “Hyacinth House,” recorded there and with Morrison’s first attempt at the lyrics.

The unreleased material on discs two and three may disappoint some, given previous reboots and reissues. Most of the newly excavated tracks here are extended early takes of existing songs, sprawling studio jams full of stop-and-start fumbles and tweaked arrangements. The material is arranged so that the attempts are in chronological order for each song, so the listener can hear how the songs progressed. For example, disc two has 26:50 of The Changeling,” 21:10 of “Lover Her Madly,” 18:09 of “Riders on the Storm” and 11:04 of the first part of “L.A. Woman.” Disc three continues with 8:42 of the second part of “L.A. Woman” and another 13:42 on the song’s third part.

Brief bursts of wry band chatter offer proof that Morrison had a self-aware sense of humor. At one point during the sessions for “Riders on the Storm,” Morrison substitutes cowboy lyrics. Disc three also has brief covers of Junior Parker’s “Mystery Train,” Lee Dorsey’s “Get Out of My Life Woman” and Big Joe Williams’ “Baby Please Don’t Go.” Some barely stretch beyond a minute.

This is a limited, numbered edition that includes a 16-page, LP-sized booklet with wonderful photos from the recording sessions, an essay/liner notes by David Fricke and a recollection by Botnick. Grade: original album A+; this collection B+

Neil Young and Crazy Horse: Barn (Reprise CD). Young and band went back to the barn on his new Colorado property to record these 10 new songs. Many feature harmonica and, like the opening “Song of the Season,” recall the sound of “Harvest.” Those looking for guitar workouts will be disappointed, as only two tracks come close to qualifying. They are the autobiographical “Canerican” and “Human Race,” which talks about the future being “children of the fires and the floods,” as it is one of several songs that talks of the consequences of global warming and actions taken that might help. Another is “Change Ain’t Never Gonna,” which talks about people trying to save the planet “from a fuel-burnin’ mob.”

At 76, Young is embracing change, prompted by his marriage, in 2018, to actor and environmentalist Daryl Hannah, who is the subject of the album’s “Shape of You,” in which he sings she “wore my love like your favorite sweater.” Young plays piano and harmonica on the track. Love suffuses a number of tracks, including “Tumblin’ Thru the Years,” again with Young on piano, and the final song, “Don’t Forget Love.” The latter, emphasized by Crazy Horse’s falsetto backing vocals repeating the song’s title, is an admonition to lean into one’s better feeling with a simple, quiet sound.

Also autobiographical is “Heading West,” in which Young recalls his idyllic childhood and his parents’ divorce, retold as a road trip out west with his mother. Here, Nils Lofgren plays piano. Lofgren, who spent a couple decades with Bruce Springsteen, returned to Crazy Horse after the 2012 retirement of original guitarist Frank “Poncho” Sampedo. The rhythm section remains bassist Billy Talbot and drummer Ralph Molina. Lofgren even plays accordion on “Song of the Seasons.”

On “Welcome Back,” Young sings directly to the listener as the brooding, drawn-out number stretches to 8:27, with Young and Lofgren exchanging licks, often with feedback. The disc comes with a lyric sheet that is beyond too-small to read. Grade: A-

Kylie: Disco – Guest List Edition (BMG, 3 CDs + DVD + Blu-ray, 50:38). Kylie Minogue, finally acknowledging the last name really isn’t necessary, follows up her country-tinged “Golden” album and concert video with a new 16-song CD, plus a studio-streamed concert, also of 16 songs, but only nine are from the new CD. Both emphasize disco beats of the 1970s and 1980s and the Studio 54 era. Disc three is a CD of the concert, which also is included on both Blu-ray and DVD, while CD two features three duets and seven remixes of songs from the album with guest singers or guest remixers.

I suggest watching the “Infinite Disco” live stream concert first, as it is wonderful, with Kylie often surrounded by disco-dancing men and women on an often-changing LED-lit floor. The show opens with a brief bit of the new song “Magic” – it returns in full to close out the show – then the beat-heavy “I Love It,” another new song. As with her last album, Kylie co-writes all the songs. The dance beat continues strong, but the sound is a bit softer for “In Your Eyes,” one of her classics that gets discofied for the show. “Light Years,” with its lyric about pop stars on the moon,” receives a similar treatment, as does “Love at First Sight,” which comes near the end of the performance.

The new, more melodic “Supernova” features spaceships in its lyrics, then comes the wonderful “Dance Floor Darling,” a new song that invites one to dance. Things are switched up a bit for the next two songs, “All the Lovers” and “Say Something,” as Kylie is joined on the dance floor by the House Gospel Choir. Both songs are pop, with “All the Lovers” recalling ABBA.

A slower love song, “Real Groove,” would make a great single. “Slow” is more erotic with funk guitar and is paired with a cover of Donna Summer’s “Love to Love You Baby.” “Monday Blues” is a fine number about living for the weekend and features all the dancers. There is more funk in “Where Does the DJ Go?” and, with its peppy melody and chorus, it could be an anthem. It reminds me a bit of The Weather Girls’ “It’s Raining Men.” “Last Chance,” another invitation to a possible dance partner, is probably a homage to Summer’s “Last Dance.”

The video-streamed show comes with a bonus making-of piece (13 min.), which tells how Studio 54 and “Saturday Night Fever” were inspirations for the choreographer. Most of the dancers – with some pairs selected because they lived together due to Covid concerns – get to talk briefly about how good it was to get back to performing.

On the new album CD, in addition to songs already mentioned, there are “Miss a Thing,” with its sinuous melody, and the midtempo, more forgettable “Celebrate You” and “’Till You Love Somebody.”

The CD with guests includes solid new songs “A Second to Midnight,” featuring Years & Years (Olly Alexander); the smooth “Kiss of Life” with Jessie Ware; and “Can’t Stop Writing Songs About You” with Gloria Gaynor, herself once a disco star with “I Will Survive,” “I Am What I Am” and “Never Can Say Goodbye.” Alexander and Ware co-wrote with Kylie and others, while the song with Gaynor is a cover.

The remixes include two great versions of “Real Groove” with Dua Lipa, three remixes of “Say Something” (I like the F9 Club Remix the best), an extended mix of “Magic” and Linslee’s Electric Slide Remix of “Dance Floor Darling.” Grade: taken as a whole A

Alan Parsons: The Neverending Show Live in the Netherlands (Frontiers Recordings, 2 CDs + DVD, 112 min.). This concert was recorded before a live audience on May 5, 2019 at TivoliVredenburg, Utrecht, Netherlands, and apparently tickets were only $5, a steal for such a good show. Parsons, along with writing partner Eric Woolfson as The Alan Parsons Project, recorded such memorable concept albums as “Tales of Mystery and Imagination” (1976), “I Robot” (1977), “Pyramid” (1978), “Eve” (1979), “The Turn of a Friendly Card” (1980), “Eye in the Sky” (1982) and “Gaudi” (1987), among other albums. Parsons has been nominated for 13 Grammy Awards, but only one once.

For this show, most of the band members sing, even if only backup. Parsons sings lead on a handful of songs, including “Don’t Answer Me,” “Limelight,” “As Lights Fall” and “Prime Time,” but most of the lead vocals are divided between PJ Olsson (the longest member of the current group; he also plays guitar and percussion) and sax player Todd Cooper (also guitar, recorder and percussion). Parsons, of course, also plays acoustic guitar and keyboards, with the other keyboard player being Tom Brooks. The lead guitarist is Jeff Kollman, while Dan Tracey plays guitar, Guy Erez bass and Danny Thompson drums. The band is excellent.

Brooks and Kollman both have mini-solos during “Damned If I do,” which shares similar lyric sentiments with “Limelight.” Throughout the latter, the crowd is waving their cellphones in flashlight mode. Among the more familiar numbers are the more intimate “Time,” the more rock “The Raven,” the instrumental “I Robot,” the Parsons-sung “Eye in the Sky” and the closing “Games People Play.”

Other fine moments include the drums on the instrumental “Luciferama,” Olsson’s expressive vocal on “Don’t Let It Show,” “Psychobabble” with its sirens and red spotlights and “I Can’t Get There from Here,” sung by guest Jordan Asher Huffman, whom Parsons introduces as his future son-in-law. Huffman returns to join on the show-closing “Games People Play.”

“Miracle” is performed only on the DVD; otherwise, the two CDs repeat the concert program. A DVD bonus is a music video for “The Neverending Show,” filmed with a circus setting and featuring Huffman as the vocalist (6:23). Grade: A