The Stranglers’ JJ Burnel on the album that changed his life
Although they gained prominence in 1977 during the onset of the punk wave, The Stranglers transcended the conventional punk band archetype. Originating in 1974, the band initially embraced a pub rock aesthetic that foreshadowed punk’s gritty demeanour, owing much to the members’ pre-existing attitudes.
In essence, The Stranglers stand as one of the rare bands that influenced the punk movement and drew inspiration from it. Led by JJ Burnel’s driving bass lines, they absorbed influences from contemporary bands through the late 1970s and into the 1980s, eventually adopting a synth-heavy sound typical of the era.
Beyond his accomplishments with The Stranglers, Burnel also showcased his diverse talents through a prolific solo career, which included albums like Euroman Cometh and Un Jour Parfait, unveiling Burnel’s penchant for experimentalism while showcasing his versatility and willingness to push musical boundaries.
A pro when it comes to seamlessly blending aggression with melody and innovation, Burnel remains one of the leading trailblazers when it comes to musical dynamism. His influences when it comes to music also spans a diverse array of artists across various genres. In a feature with Louder, he once went into depth about one specific album that left a lasting impact on him: The Doors’ L.A. Woman.
“L.A. Woman first came into my life when I was a student up in Yorkshire; I’d dropped some acid,” he candidly admitted. “After that I never looked back. It was the soundtrack to an important time in my life, as I left home and got up to all sorts of mischief. If you want the truth, I became a bit obsessed by L.A. Woman. As something of a zealot, I developed a habit of giving away that album to people that I felt should hear it. Over the years I must’ve bought it seven or eight times.”
He continued: “It wasn’t until many years later that I stepped back and realised that L.A. Woman is a blues album. It’s also quite hard-rocking. And the effects on the organ are great. Back in the days of vinyl, the songs that ended each side – ‘L.A. Woman’ and ‘Riders On The Storm’ – were inspirational. Because of that, for a few years The Stranglers tried to close our own albums with a couple of epic songs. ‘L.A. Woman’ and ‘Riders On The Storm’ are by far its best-known songs, but as a record it’s extremely consistent. I love the way that Robby Krieger finger-picks as well as strums the guitar.”
Concluding: “I did go out and buy the rest of their catalogue. For me, though, L.A. Woman will always be The Doors’ finest work. It’s my zeitgeist, and although I don’t play it as much as I used to I still love it.”
L.A. Woman was also special, considering the fact that it marked the final recording with Jim Morrison on vocals before his passing. Prior to this record, the band had weathered substantial personal challenges. As with their earlier releases, L.A. Woman embraced a deeply spiritual essence, yet it possessed an additional element absent in their previous albums.
The album also marked a departure for The Doors, showcasing a stripped-down sound that openly embraced their blues roots. While the blues had always permeated The Doors’ music, L.A. Woman leaned fully into this influence without reservation.
