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The Doors - Waiting For The Sun CD (album) cover


The Doors



3.59 | 346 ratings

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3 stars The most important reason I bought this album in the first place, was due mainly to their number one tune "Hello, I Love You." By the first half of 1968, the Doors had established themselves as proven hit makers. They were not only heavy rockers, but they could hold their own in the pop circuit as well. They already had six tunes that had gotten considerable airplay from top forty radio stations across the US, and around the world. This was the second album that I bought by the doors. The nearest record store from my house was close to two miles away. I remember walking to that store and looking over their lastest release. I was a little disappointed that the album had no long songs on it, as was the case with their first effort. I kind of expected "Hello, I Love You" to be anywhere from five minutes, up to twelve or more minutes in length, simply because they had done that with "Light My Fire" on their other release. The trend at that time was for bands to make long songs and cut out the solos etc. in order to make the song accessable to the pop seekers. In this way they could garner an audience for the more artistic versions they were recording. I was starting to get into that mind set and I expected the Doors to continue and expand what they were doing. In other words, I thought they were hoping to out do themselves as they continued to record. I happened to notice the song "Unknown Soldier" was also on the collection, so I decided to buy it and I walked home. The front cover had to be opened as you would a book. The first thing I saw was a lyric called "Celebration of the Lizard." For a few minutes I thought all those songs were connected into one big long offering and I was really excited. Then I remembered that "Hello, I Love You" had no such lyric content. Then I wondered why on earth they would put words on an album that they didn't have any music to. It made no sense. Anyway, I put the record on, still hoping "Celebration" was on there some place. The words were like nothing I ever heard before. I think that was the genesis of my appreciation for Morrison's poetic contributions. I just loved his talent! "Hello, I Love You" immediately says "Hit!" The riff is catchy, rockin', and difficult to reproduce. The lyrics are love song meets word crafter. This band is something else! The song is completely artistic, as well as top pop. What a blend! I especially loved the way Robbie Kreiger used the whammy bar to break up the song. Morrison is comical, sensuous, and poetic here. Just a masterpiece! "Love Street" is not that bad of a song. Again Morrison shines, while Ray Manzarek dominates the musical landscape with his delicate key work. The group is tight and purposeful. Next comes one of my favorite pieces on that public launch. It's a strong and scary tune named "Not To Touch the Earth." It was then I realized the boys took a section of the "Celebration of the Lizard" song and made a 45 like tune out of it. Very creative! It was a great idea that was never fully realized, for whatever reason. Anyway, this song modulates after every verse. It is an intense and captivating ride as Morrison takes us into his dream world. The images evoke visual escapades which are unforgettable and seemingly breathtaking. The music propels the words into a frenzy and you almost feel drained when the song is finished. It is wild and chaotic. You might say that "Not to Touch the Earth" is a nightmare set to music. Simply masterful! Whoever placed these songs on the album knew what they were doing. After the maddening rush of "Not to Touch the Earth," we are treated to the tranquil and drifting blues piece named "Summer's almost Gone." I didn't care for this one too much at first, but for decades since its release,I have been singing this tune almost on a daily basis. Here is another example of Manzarek superbly expressing his sensitive musical side. This could have been a good top forty tune. "Wintertime Love" is good, but it takes away from the rest of the album. It sounds like something the Osmonds would record. Just too poppy, or, as we used to say, too "Teeny Bopper." On the other hand, "Unknown Soldier" is a true prog masterpiece! The lyrics are thought provoking and painful. So visual! First the errie organ, with Morrison telling a tale about a soldier distancing himself from his girl, realizing he may not see her again. After the organ fades, the next scene is the news about his death. It makes me tear up. That is word power! It's all over for the unknown soldier. Then the funeral march and the final tribute, as the drum emulates the sound of gun fire. The last verse is connected to the first and finally Morrison declares that "The war is over." He screams it out and you get goose bumps as the guitar keeps repeating the appropriate riff and the freedom bells are ringing. You can feel the extreme jubilance as the song fades away with the happy ending of peace for everyone. How did they do it?! Nearly awesome! Unfortunately, the song didn't do that well on the charts. Morrison commented that if they had released the song six months sooner or even six months later, it would have done better than it did. Side two opens with superior flamenco guitar, played by none other than Robbie Krieger himself. He does an amazing job. Flawless in execution! Jimbo weaves his story telling abilities in and we are transported back to another time and place. "Spanish Caravan" is simply excellent! They add electric guitar and organ melodies to the last verse to give the offering an added dimention which enhances the power of this fine example of classical prog. "My Wild Love" is a chant tune that showcases Morrison's writing. I am sure he got the tune in his head and decided to make a song out of it. I thought the words were good, but the music, or the lack of it, was amateurish. They could have done more with the tune. "We Could be so Good Together" is powerful lyric wise, but it suffers musically. The keys sound in places like you're under the big top waiting for the clowns to enter. Again, they could have done so much more with the tune. Even Krieger's solo work doesn't help here. Now comes one of my all time favorite songs by the Doors, entitled, "Yes, the River Knows." It is so beautiful! I don't know why they didn't do more moody stuff like this. Everything meshes so well. The solo is slow and powerful! It gets you right in the brain. Manzarek, Krieger, Densmore, and Morrison are the absolute masters on this one. No one could make the song any more effective. "Five to One" stinks. I don't care what anybody says. Just because Krieger is playing a lot of lead guitar doesn't mean anything to me. I think Manzarek secretly had desires to be a "carnie." His playing just gives you that kind of vive. Morrison sounds like he decided to see what it would be like to record a song while he was stoned, drunk, or whatever. Just terrible sounding! The only bright spot is Densmore's contribution, but it doesn't really help the tune. The Doors are one of those bands that can make some of the most heavenly sounding songs you will ever hear and at the same time they can make some real stinkers. I have endevored to give my honest opinion. If they were to get rid of those poor songs I would give them five stars, but as it is, I can only give them three and one quarter stars, which really nets them three stars for progarchives. I am sorry, but bad songs do take away from the good ones! I still recommend part of the release as being essential, but get rid of the rest!
Keetian | 3/5 |


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