The Doors - Waiting For The Sun (2LP, 45RPM)
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Jim Morrison – vocals
Ray Manzarek – keyboards
Robby Krieger – guitar
John Densmore – drums
Douglas Lubahn – occasional bass, electric bass on "Spanish Caravan"
Kerry Magness – bass guitar on "The Unknown Soldier"
Leroy Vinnegar – acoustic bass on "Spanish Caravan"
Written by The Doors
2 LPs, gatefold jacket
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : Quality Record Pressings
Label : Analogue Production
Original Label : Elektra
Recorded 1967–May 1968 at Sunset Sound & TTG Studios, Hollywood, California
Engineered by Bruce Botnick
Mastered by Doug Sax, Sangwook "Sunny" Nam
Produced by Chad Kassem, Paul A. Rothchild, Bruce Botnick, Jeff Jampol
Originally released in 1971
Reissued in 2012
Tracks :
Side A
- Hello, I Love You
- Love Street
- Not To Touch The Earth
Side B
- Summer's Almost Gone
- Wintertime Love
- The Unknown Soldier
Side C
- Spanish Caravan
- My Wild Love
- We Could Be So Good Together
Side D
- Yes, The River Knows
- Five To One
Reviews :
“Released in July 1968 when the group was (arguably) at the height of their sixties popularity, Waiting for the Sun the band’s first and only number one album in the US and their initial breakthrough album in the UK.
Departing from The Doors’ first two albums, which were similar in structure and dark mood and contained strong extended pieces to finish up the album, Waiting For the Sun contains a lighter sound on several tracks. This is a bit ironic because the original plans for this album included the side-long epic track “Celebration of the Lizard”, which was composed as a series of poems by Morrison over improvised music in sections, along with other more structured “sub songs”. However, producer Paul Rothchild and the other band members rejected all but a small part of the original studio piece. Still, the lyrics for the piece were published inside the gatefold jacket of the original vinyl LP. The band did perform “Celebration of the Lizard” in its entirety live and an advanced version of the piece appeared on the band’s 1970 album, Absolutely Live.
(…) The only section of “Celebration of the Lizard” to make it on the album, “Not to Touch the Earth” is almost out of a dramatic movie scene. The bass line and overall rhythm continuously gets more intense, mirroring Morrison’s vocals. The opening lyrics come directly from subchapters in The Golden Bough by James Frazer with the rest being opaque poetry which is open to interpretation. Drummer John Densmore offers timely fills and a tight beat to hold the thrilling chaos all together.
“Summer’s Almost Gone” is another tune re-born from the group’s earliest days. The descending bass/keyboard riff reminds one of much of the repetitive material from Strange Days, albeit with some underlying honky-tonk piano by Manzarek and bottle-neck slide guitar by Krieger for variety. “Wintertime Love” goes in the opposite direction (both musically and seasonally). This short and upbeat European waltz is good composition with melodic vocals by Morrison and great bass by session man Douglas Lubahn, who provided bass for much of the album.
“The Unknown Soldier” is an intentionally controversial song, examining the Vietnam War and how it was viewed on television back in the United States. Complete with mysterious and eerie organ sounds in the verses and a literal march towards execution in the middle of the song, the Doors produced one of the most unusual and complex tracks of their career. The song then erupts into a climactic and celebratory coda, which envisions a victorious end of war. While the single and its promotional video were banned from much mainstream media, the song still managed to find its way into the Top 40.
Side two of Waiting For the Sun begins with “Spanish Caravan”, highlighted by some fantastic flamenco guitar by Krieger through the first verse and chorus, one of the most accomplished musical sequences in the Doors collection. The eventual turn electric is like a preview of the later genre of progressive rock, making this short piece an overall forgotten classic. Contrarily, “My Wild Love” may be the worst Doors song ever. A Morrison-inspired group chant, this unfortunate experiment should have been shelved for some later rarities collections. “We Can Be So Good Together” is upbeat and fun and sounds like it could have been every bit as successful as “Hello, I Love You” commercially. The song was recorded during the sessions for Strange Days and even appeared on an early track listings for that album.
“Yes, The River Knows” is a beautiful, poetic love ballad with moody piano, in the same vein as “The Crystal Ship” from their debut. The superb picked electric guitar phrases by Krieger, accompanied by Manzarak’s classical piano and Morrison at his most melodic, really show the range of the Doors musically. The album closer “Five to One” is a thumping anthem which marks its place in time while leaving more questions than it answers (Is it a love song? Sex song? Song about murder? Revolution? Social commentary?). Part of the song (“Your ballroom days are over baby/Night is drawing near/Shadows of the evening/crawl across the years”), was seemingly lifted from the 19th-century hymnal and bedtime rhyme “Now the Day is Over”, while some say Morrison was possibly referring to a Dylan Thomas story in another part of the song. In any case, this proto-heavy metal track is an ode to brute force and a Doors classic.
To date, Waiting For the Sun has sold over 7 million copies worldwide, a phenomenal blockbuster for most groups. While the album was critically panned upon its release, the stronger parts of the record held up well over time, especially for those who enjoy the band’s diversity.” Ric Albano, Classic Rock Review, November 14, 2013
“The Doors' 1967 albums had raised expectations so high that their third effort was greeted as a major disappointment. With a few exceptions, the material was much mellower, and while this yielded some fine melodic ballad rock in "Love Street," "Wintertime Love," "Summer's Almost Gone," and "Yes, the River Knows," there was no denying that the songwriting was not as impressive as it had been on the first two records. On the other hand, there were first-rate tunes such as the spooky "The Unknown Soldier," with antiwar lyrics as uncompromisingly forceful as anything the band did, and the compulsively riff-driven "Hello, I Love You," which nonetheless bore an uncomfortably close resemblance to the Kinks' "All Day and All of the Night." The flamenco guitar of "Spanish Caravan," the all-out weirdness of "Not to Touch the Earth" (which was a snippet of a legendary abandoned opus, "The Celebration of the Lizard"), and the menacing closer "Five to One" were also interesting. In fact, time's been fairly kind to the record, which is quite enjoyable and diverse, just not as powerful a full-length statement as the group's best albums.” AllMusic Review by Richie Unterberger
Ratings :
AllMusic : 4.5 / 5 , Discogs : 4.82 / 5