Jim Morrison's music is eternal reminder of a man possessed by talent, questions, and urge to look for answers

Jim Morrison was the original rebel with a cause, one that believed in boundless self-expression even at the cost of irking authorities and society itself. Why LA Woman really matters as an album in The Doors’ discography is because it continued with Morrison Hotel’s high of blues rock, and reestablished Jim Morrison as an extremely influential, original singer-songwriter-frontman. He is still the same wild child in LA Woman but there is unmistakable gravitas in his songwriting and sonorous singing; the person we all fell in love with and the man who defined what it is to be a true ‘rockstar.’ Think of the word ‘rockstar,’ and you will immediately find yourself thinking of a Jim Morrison prototype: Black leather pants and/or jackets, wild behaviour, unkempt hair, an air of mystery, the power to mesmerise a crowd, and of course, musical talent that keeps us longing for more. ‘Riders on the Storm,’ ‘Break on Through,’ ‘Touch Me,’ ‘Love Me Two Times,’ ‘When The Music’s Over,’ ‘The End,’ ‘Hello I Love You,’ ‘Spanish Caravan,’ ‘The Unknown Soldier,’ ‘LA Woman’…the list is inexhaustive. ‘The End’ — among the most controversial of Morrison’s songs — touches upon the Oedipus Complex idea of Greek drama in a way that is almost taboo.