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WAITING FOR THE SUN

The Doors

Proto-Prog


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The Doors Waiting For The Sun album cover
3.53 | 219 ratings | 25 reviews | 18% 5 stars

Excellent addition to any
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Studio Album, released in 1968

Songs / Tracks Listing

1. Hello, I Love You (2:22)
2. Love Street (3:06)
3. Not To Touch The Earth (3:54)
4. Summer's Almost Gone (3:20)
5. Wintertime Love (1:52)
6. The Unknown Soldier (3:10)
7. Spanish Caravan (2:58)
8. My Wild Love (2:50)
9. We Could Be So Good Together (2:20)
10. Yes, The River Knows (2:35)
11. Five To One (4:22)

Total time 32:39

Lyrics

Search THE DOORS Waiting For The Sun lyrics

Music tabs (tablatures)

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Line-up / Musicians

- Jim Morrison / vocals
- Ray Manzarek / keyboards and vocals
- Robby Krieger / guitar
- John Densmore / drums

Guests:
- Doug Lubahn / ocassional bass
- Kerry Magness / bass (6)
- Leroy Vinnegar / acoustic bass (7)

Releases information

LP Elektra EKS 74024 (1968)
CD Elektra E2 74024 (1990)

Thanks to erik neuteboom for the addition
and to NotAProghead for the last updates
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THE DOORS Waiting For The Sun ratings distribution


3.53
(219 ratings)
Essential: a masterpiece of rock music(18%)
18%
Excellent addition to any rock music collection(46%)
46%
Good, but non-essential (29%)
29%
Collectors/fans only (5%)
5%
Poor. Only for completionists (2%)
2%

THE DOORS Waiting For The Sun reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Prog-jester
PROG REVIEWER
3 stars A solid bunch of good songs performed with unique DOORS' capability.Morrison's charisma is flawless even when it comes to songs like "We Could Be So Good Together" and "Yes, The River Knows" (pretty average ones). My personal favourites here are "My Wild Love"(gospel!!!), "Five to One"(DOORS at their best!), "Spanish Caravan"(excellent guitars!) and "Summer's almost gone"(nice ballad)."Wintertime Love", a waltz, should be mentioned too - emotional lyrics laid on funny tune (IMHO).THE DOORS prove that bass- less band can be good (check "Not to touch the Earth", what a hypnotic one!).Funny melodies ("Hello I love You"), social concept ("Unknown Soldier"), amazing musicianship - even with a simple "songy" album THE DOORS sound better and proggier than most of the modern bands.Not my personal favourite from them - 3,5 stars actually - but a Must- Have anyway

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Send comments to Prog-jester (BETA) | Report this review (#105247) | Review Permalink
Posted Tuesday, January 02, 2007

Review by Seyo
SPECIAL COLLABORATOR Honorary Collaborator
4 stars After the first two psychedelic stampede albums in 1967, Jim & Co. pushed the brake and slowed the things down.

The third album "Waiting For the Sun" (with amazing and my favourite cover art picture) contains many slow and "easy" tracks. Some of them can be called "psychedelic pop ballads", like "Love Street", "Summer's Almost Gone", "Wintertime Love" and "Yes, the River Knows", which have almost nothing to do with rock templates but owe instead a considerable inspiration from the classic Tin Pan Alley pop (Morrison often admitted his love of Frank Sinatra as well as of Elvis Presley, regarding singing styles). On the other side, "Not to Touch the Earth", "Unknown Soldier" and "Five to One" are wild, bluesy, heavy psyche songs presenting Morrison's less sane personality and strong, spiky lyrics. Oddities include a gospel/Indian-like vocals-only chant "My Wild Love" and Krieger's classical acoustic guitar extravaganza of "Spanish Caravan". The big hit "Hello, I Love You" is a childish pop song, the one I usually skip when playing.

"Waiting For the Sun" is not easily acceptable album, despite its "easy" feel. It is not catchy or captivating on the first listen, unlike their other more blues-rock structured works that follow the usual rock 'n' roll norm. Even for fans, it will take some time to earn appreciation. It is very unusual album even for the revolutionary, psychedelic standards of the year 1968. Often neglected in light of being recorded after the masterpiece "Strange Days", this album is a hidden gem in THE DOORS' catalogue and is highly recommended to prog-rock, especially psychedelic lovers.

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Send comments to Seyo (BETA) | Report this review (#105638) | Review Permalink
Posted Friday, January 05, 2007

Review by memowakeman
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Another excellent album!

When you are fan of any band, you always want to support them and recommend them in order to be more recognized band and also to explore all the limits that a band could have, we shouldn`t have to listen to their most well known songs (aka hits), but to all the music to comprehend all the changes and different stages that a band had (or have). In other words, after their first two releases which i absolutely adore and probably are the only albums that so many people know about this band, The Doors didn`t waste time, and in the follower year (1968) the gave light to their third baby, which was named "Waiting for the Sun".

As i said in the other reviews, what i less want is to make a hostile debate about if they are prog or not, if they were a main influence to the development of the scene, i only want to review their albums because i love the band, that`s all, and this is the first time that happens to me , this kind of "fever" when a beloved band was recently added, and then you want to review everything, i hope not to bore you, but i simply HAVE to review them, is something very personal, though.

In this album we can notice the likes of Jim towards "shamans" and those things that made him with a unique behaviour, some of his personal influences, besides the fact of a bit more mature sound in their songs, i mean i think after their first two powerful records, they tried to calm down a bit.

With 11 songs, "Waiting for the Sun" has another face of The Doors, this time we wont find long tracks, nor proggy songs, but anyway good psych rock. "Hello, i love you" is the one which starts, this song for me was made completely to sing, great keyboard work. "Love Street" is my favorite song here, a very soft song, not rockish at all, but with good guitar arrangements and the beautiful voice of Jim. "Not to Touch the Earth" returns to their classic psychedelic sound, this song may have been written with lots of mushrooms or LSD, it`s a great one, though. "Summer`s Almost Gone" and "Wintertime Love" are small pieces, maybe a weak point in this album, i like them all i think, but these are not excellent songs at all. "Unknown Soldier", well this is a classic song, in here we can also notice their influences and some of their inner feelings that they wanted to share, "Spanish Caravan" is a masterpiece, here as you can imagine because of the title, Robby Krieger shows us his talent and his fast fingers, the guitar is excellent here, besides the texture of the song and the keys. "My Wild Love" is a weird, weird but beautiful song ,it`s strangely known but definilety a great one. "We Could be so Good Together" and "Yes, the River Knows" are the other couple of weak moments, both songs are lack of determination to create something better, nothing new and good, and finishing the album another classic track "Five to One", this song is also memorable because of the letter, the intro and the last part when Jim keeps on saying that words, along with a kind of "chorus" as a background vocals.

Well, after all i like it a lot, but is not as good as the first ones, so my grade will be 3 stars, good but non-essential.

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Send comments to memowakeman (BETA) | Report this review (#106306) | Review Permalink
Posted Saturday, January 06, 2007

Review by Guillermo
PROG REVIEWER
3 stars After two very intense albums, this album became "the difficult third album", because it seems that the band had to record it after a hard work schedule. So, this third album is full of ballads, and it has been criticized since then by many people and Rock music writters. But I like it a lot.

The album starts with "the obligatory single", "Hello, I Love You". This song has some good fuzz guitars.

"Love Street": a very good ballad, with very good piano arrangements by Manzarek. One of my favourites from this band.

"Not to Touch the Earth": a fragment of "The Celebration of the Lizard" which was recorded in its entirety for the "Absolutely Live" album. The full lyrics of this musical piece appear in the gatefold cover of "Waiting for the Sun". Apparently Morrison wanted to record the whole musical piece for this album, but the Producer didn`t agree with him.

"Summer`s Almost Gone": another good ballad which was really one of the earliest songs that the band composed.

"Wintertime Love": another good ballad.

"Unknown Soldier": one of the best songs from this album. There was a promotional film (directed by Manzarek) which I saw several times broadcasted on TV. A protest song about war.

"Spanish Caravan": a good song with Krieger playing very good Flamenco acoustic guitars.

"My Wild Love": a song sung "a capella" (with handclaps and percussion instruments) by the band. Very different in style, it was a good experiment done in the studio.

"We Could Be So Good Together": a Pop Rock song which I think that it could have been a good choice for a single.

"Yes, the River Knows": the best ballad in this album, with very good piano arrangements by Manzarek and good drums arrangements by Densmore, who plays this song using brushes.

"Five to One": the heaviest song in this album, with distorted guitars and Morrison`s energetic vocals, including some screaming from him. In this song, he sounds like he recorded the vocals a bit "stoned".

In conclusion, this is a good album, mostly a "soft album" which many fans don`t like very much, full of romantic songs. It was like "a Parade throught the Soft".

There are not many Proto-Prog influences in this album, IMO. So, I give to it a 3 stars rating.

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Send comments to Guillermo (BETA) | Report this review (#106313) | Review Permalink
Posted Saturday, January 06, 2007

Review by Tom Ozric
PROG REVIEWER
5 stars Very, VERY, surprised to see The Doors here at the archives (always considered their music as a 'progressive' form) - seems like it's a matter of time before Grateful Dead records appear on P.A. (well, they had their 'proggy' moments too).

After many years of being into The Doors, almost 20 - and it was all 'West Coast Rock' for me, before I got into 'Prog' - I am confident that this album, 'Waiting For The Sun', is their most diverse, if not (given the release year), their most 'progressive' album within their career - this is, of course, my perception. The quality of musicianship is undeniable, especially the talents of keyboardist Ray Manzarek, with cutting edge guitar techniques from Robbie Krieger and jazzy drumming from John Densmore. Together, with the unique 'lyrical' textures of Jim Morrison (somewhat emotionally similar to Peter Hammill, both in inspiration, and execution,) create an amazing spread of tunes, ranging from psychedelic pop (Hello, I Love You, Love Street, We Could Be So Good Together, Wintertime Love - all of which incorporate irregular key changes and progressions, and varying rhythms), aggressive and wild moods (The Unknown Soldier, Five To One) mysterious and reflective (Yes, The River Knows and Not To Touch The Earth) a bluesy tune (Summer's Almost Gone) an 'acidic' flamenco concoction (Spanish Caravan) and even an 'a-capella' (human voices only) arrangement with 'My Wild Love' - and armed with a selection of various Organs, Piano's and maybe even the odd synthesiser, as well as treated guitar sounds, the band have presented the World with a revolutionary listening experience, albeit slightly 'dark' sounding, with a suggestion of the twists and turns that simplistic musical styles can take. A definite high-point of formative, progressive music - 5/5 for this LP.

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Send comments to Tom Ozric (BETA) | Report this review (#106487) | Review Permalink
Posted Monday, January 08, 2007

Review by Chicapah
PROG REVIEWER
3 stars After delivering two revolutionary and head-turning albums in the space of a single year and finishing a spectacularly controversial tour the Doors faced their first real challenge: Write and record new songs that would rival the gems they had honed in their earlier years and amazed the general public with. Only a handful of bands could rise to that challenge and the Doors gave it an admirable try but, in the end, created what most fans considered a step down from their previous two. I suspect the opening song (with a riff obviously derived from "Sunshine of Your Love" and "Inna-Gadda-da-Vida") came about as the result of some fat record exec who uttered the cliché "I don't hear a single" upon listening to the tapes coming out of the Electra studios, forcing the foursome to quickly put together "Hello, I love you." It is banal both lyrically and musically and should never have seen the light of day. But they were still young and toeing the company line (even though Jim confessed "I tell you lies, I tell you wicked lies" in the song "We Could Be So Good Together.") The next few songs are strictly about love in its various forms and that's not what we fans were wanting or expecting from them at all. They aren't bad songs, they were just too "nice." Morrison boldly declares "I am the Lizard King, I can do anything" but we were still skeptical at this point. Not until the jarring "Unknown Soldier" were we treated to the brutality and horror of the war-pervaded sixties that we craved and needed from these guys. The satirical carnival-like atmosphere of the ending is truly a great thing to behold and rang frighteningly true for all of us of draft age. Not until the next to the last song are we once again confronted by Mr. Morrison's eerie forecasts when he sings (in "Yes, The River Knows") "I'm going, but I need a little time. I promised I would drown myself in mysticated wine." And that's a promise we didn't want him to keep. The album ends with a bang, though. "Five to One" is the group at its most forceful. To all warnings from his legions of followers to take it easy Jim shouts "No one here gets out alive!" and that he is ready and willing to trade in his hours for a handful of dimes. We didn't know what he was talking about at the time but he was walking down a one-way street toward Dylan's desolation row and no one could stop him. The overindulgences Jim couldn't resist were just beginning to take its toll and this album's overall mediocrity was, unfortunately, only the tip of the iceberg.

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Send comments to Chicapah (BETA) | Report this review (#106635) | Review Permalink
Posted Monday, January 08, 2007

Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
3 stars After two albums, The Doors were almost on top of the world (as were other LA Sunset- strip groups but also their Northern counterparts from Frisco), and it seemed nothing could stop them. But somehow with this album, things will come to a gradual stop, even if that stop was still exceeding normal speed limits. Graced with an outstanding shot of the group at sunrise in the dunes, the album boasts a bunch of really interesting tracks ever- widening their scope, and plans was for the sidelong Lizard King suite that will never be recorded in studio in its final state, for obscure reasons. But the inner fold of the album will boast the full poem and a picture of the lizard that was to be crowned the king.

So the album still gives to the ultra-commercial (Hello I love You etc.), the there are tracks which shows that the groups is still progressing in terms of dramatics, but Morrison's rebellion is getting sometimes a bit of an hindrance (especially on stage where his substances are increasingly hampering the concerts).

Tracks like Not To Touch The Earth (delightfully dynamic), The Unknown Soldier, Five To One (both the last two about the war in Nam, in Morrison's rebellion to his father being an admiral in the navy) and Spanish caravan (with Krieger's Flamenco intro) are all tracks which merits attention of the proghead, but let's face it, there is not much else for the proghead. Clearly this album is lacking the intended centrepiece that was supposed to be its centrepiece: The Celebration Of The Lizard King. Hardly essential really.

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Posted Tuesday, January 09, 2007

Review by The T
SPECIAL COLLABORATOR Honorary Collaborator
4 stars 2007 revision: I wrote this review long before I bought the new 2007 remixes of all the 6 albums by The Doors. I won't touch the review itself but let me say a few words about the new edition. First, the sound, as with all the other new mixes, is crystal-clear now, allowing the listener to hear certain sounds that weren't there in old LP or CD versions. Morrison's voice sounds so in-your-ear that you canhear his breathing; songs like "Hello I Love You" do actually sound different now that, in this particular example, the keyboards have much more importance and match the level of the guitars in the verse. The booklet contains great photos, commentaries and all the lyrics. About the bonus tracks: we have the original 1968 version of Albinoni's Adagio as played by The Doors (not the version we hear at the end of AMERICAN PRAYER or The Doors, THE MOVIE), which is quite good for a cover of such a melodical piece of classical music; we have three versions of "Not To Touch The Earth" (irrelevant) but the most important thing: we have the complete "Celebration of The Lizard" recorded in studio, not the version we get in ABSOLUTELY LIVE or The Doors LIVE. This one pays the price of admission, though I have to say, the live version still sounds better, as this studio version sounds less energetic, Morrison specially much more "inhibited". All in all, a good remix and something to consider even if you already own an older edition.

Oh, how glad I am that such an incredible band as The Doors was finally included here in the Archives. And what better way to make the most of that inclusion that to start writing reviews for their albums? I'll start with an album I consider their third best: Waiting for the Sun.

After the marvelous, amazingly unique and breathtaking voyage that was "The Doors", and the psychedelic journey through the acid worlds that was "Strange Days", "Waiting for the Sun" came as a bit of a stop in all the mind-blowing music that The Doors was providing us. Sure, this album has its share of obscure, dark tracks, its share of narcotic-inducing rhythms, but in a way comes very "light" when compared with the two trip-through-the-unknown records that preceded it.

Musically, the level of playing is, as always, superb, if not as spectacularly innovative and original as in their first two efforts. But that's talking about Manzarek, Densmore and Krieger, for when talking about the band's mastermind (at least in the lyrical and concept department), Jim Morrison, his voice here begins to show sings of decay, his throat starts telling us a lot of alcohol had come through it, the tone of his vocals start to tremble and become unstable. Nowhere is this more evident than in the last track, Five to One, where Morrison's voice seems as if produced right after the worst drinking- night he could have had; but not everything was lost, in regards to that: for many people (me including, if only at times), that "raspiness" in J.M's voice only added another element of ambiguity to the music, and also helped the tracks feel even more "bluesy". We have to acknowledge, though, that, from a purely technical point of view, Morrison's vocals started walking a downhill path, in which his beautiful baritone voice slowly turned into an old-man belch.

Hello, I Love You (8/10), one of the most "pop" tracks by The Doors is also one of the most adictive, especially for the simple-yet-catchy rhythm played by Densmore.

Love Street (10/10), a gorgeous song, the very quiet melody in piano is repeated and sung over by Morrison in the most "I love you and you are MINE" tone. A song about complete and utter infatuation but also about being the owner of that subject of love, at least in the character's mind. Not To Touch The Earth (10/10), a sick, shamanistic, drug-influenced tribal dance that shows a mind completely embedded in a wall of acid, labyrinths, all-colored-lights; it would've been even better had they included the whole "Celebration of the Lizard" in the final album, which of course was imposible due to format limitations.

Summer's Almost Gone (8/10), a lovely little quiet song, a ballad if you like, nothing to write your grandfather about but nothing to forget so easily either. Wintertime Love (9/10), too short, this beautifully crafted song has a "prairie" air to it: it seems, in one of his acid trips, Morrison dreamt of him in the countryside, a cold countryside, thinking of his loved, his owned one.

Unknown Soldier (8/10), a famous song, I like it but not as much as others do. The song, if it was a protest about war (I don't know about that), was not as good at doing that when standing alone, but the video was very effective.

Spanish Caravan (9/10), after a good display of Krieger's acoustic guitar skills, (doing his best flamenco-guitarist-impersonator), the song dwells into a dark, sensual territory; it has an spanish air to it; yes, The Doors were masters: they actually managed to give this track an spanish aura, even though they were as spanish as their music was traditional. Whenever I close my eyes during this song, I see red and black colors, a lady in full costume, a lost man waiting to jump aboard a spanish caravan.

My Wild Love (7/10), nothing more than a drug-songwriting-experiment (it sounds like that), Morrison "sings" (does he?) over acoustic percussion with a rattle-snake-like- effect here and there. The song is no great track but interesting nevertheless.

We Could Be So Good Together (7/10), another pop song but this one not as brilliant as the first one. It just doesn't have true original factors going for it.

Yes, The River Knows (7/10), just as the preceding track, this one is not one of the essential in this album and can be skipped... for your loss, that is, because when it comes to The Doors' music, more is always better.

Five To One (9.5/10), a heavy track (actually truck-heavy when compared to the rest), this hard-rock song gives us one of Morrison's most quoted lines: "no one here gets out alive", which has been used to exhaustion to sell shirts and name biographies. His singing here is in full "drunk mode", with his throat barely reaching the proper heights and giving up a lot of times. But that weird, flawed singing actually ADDS to the song, making it feel more from-the-gutter, more straight-from-the-bar, more jazzy, more unconventional, more rebellious. The guitar and keys solos halfway down the track are really good. A standout track that closes this album in good, if a little bit erratic, fashion.

All in all, a very good album, not up to the level of the two preceding monsters, but a great piece of psychedelic-bluessy-jazzy rock nevertheless. And a must in every good collection.

Recommended for: Everyone. A great album but one of the best bands ever.

Not recommended for: clean-vocals purists: you'll get a lot of "missed" notes here... but hey, what's the problem, is big ol' Jimbo! And I must say, when talking about Jim D. Morrison, I'm ready to forgive it all. Even a few (?) shots (bottles?) of scotch before recording.

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Posted Thursday, January 11, 2007

Review by Chris S
SPECIAL COLLABORATOR Honorary Collaborator
2 stars The combination of excellent songs versus mediocre ones is well balanced on Waiting For The Sun. Musically The Doors were never really highly skilled musicians but where their strength was, was in emotion. I would have to say that Manzarek on keyboards and Morrison on vocals were the main ingredients musically. There are some highlights on here like the Beatlesque ' Hello I Love You', and the incredible ' Five In One'. The rest for me is bordeline mediocre. But mediocrity from the Doors is like a masterpice from DT!! Still recommended..... but for collectors only.

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Posted Saturday, January 13, 2007

Review by Eetu Pellonpää
SPECIAL COLLABORATOR Honorary Collaborator
5 stars This is the last album by this band which I really love. The peculiar raw sound, surrealistic elements and Morrison's fine poetry really make this as a LP which I really want to claim as a masterpiece! The record begins with two catchy classic Doors love songs, which are followed by marvellous "Not to Touch The Earth", which has constantly growing aggressive chant spinning up to it's atavistic climax, containing the famous "Lizard King" phrase in it. "Summer's Almost Gone" is very mellow and sad song, followed funnily by a winter themed song, "Wintertime Love". This is very short but effective waltz, and my friend and his wife had this song as their wedding waltz! "Unknown Soldier" is then a Vietnam protest song, combining ehtreal and conventional pop/rock elements. There was a famous film shot for this tune, where Morrison get's shot in the impressionistic execution sequence. What's one really clever element of these early Doors albums is their style how they combine easy musical elements with more challening and surrealistic themes, making their music accessible and interesting for very large audiences! The B-side of the vinyl starts with "Spanish Caravan", revealing the folk music background of the guitarrists. There are some quotations of Albenitz guitar suites, and the traditional sound gets also treated with psychedelic sound textures. "My Wild Love" is archaic Indian chant painting visions of singers dancing around the nocturnal fireside at the desert. Another love song follows, and "Yes, The River Knows" is a tune I would like to mention as a great moody jazz-oriented track. Though the later studio records hold some good separate tracks, in my opinion they deviated from the impressionistic psychedelic style of their early stuff, moving towards more commericial oriented style and not so interesting songs. But these three awesome records still remain as precious artifacts for me, and I would recommend them for anyone interested of early psychedelic music!

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Posted Friday, January 19, 2007

Review by ZowieZiggy
PROG REVIEWER
4 stars The frenesy with which The Doors released their first three albums is rather impressive. Three albums in two years. To put things into perspective, this was usual at that time. People will now say that since the albums were shorter (which is true) it was easier to produce more albums. I just believe that these bands were more creative than current ones (prog or non-prog, it does not matter).

We have already noticed that their second work, was much less psyche than their debut one. The tendancy will continue here.

The Doors were touring extensively and they needed more original Doors songs (so far, they used to play a lot of covers during their concerts). The rather provocative (to say the least) Morrison was a master in manipulation and was known to create great fuss with the police during thier live appearances. It was also the time during which Jim talked already of stopping his musical career and concentrate more on writing poems.

The other members of the band, their management and the record company being completely paralized when they heard this. They reminded to Jim that they had a contract to release SIX albums. So, Jim pursued his career with The Doors but also started to write poems. This latter side of his talent was never obvious to me.

The album opens brilliantly with "Hello, I Love You", another Doors anthem and very well known of course. "Love Street" is a jazzy ballad. Almost tranquil.

The chorus of "Not to Touch the Earth" is absolutely gorgeous and most of the song has a psyche and disjointed flavour. It reminds their great debut album (their best, by far). This is only a part of what should have been a very long song (a complete side actually) called : "The Celebration Of The Lizard". This Morrison "poetic" piece was not welcomed by the band and brought the first real friciton amongst them. They rejected the project as such but this "song" will be the central piece of their concert. Almost an hymn. We can get the full picure on their "In Concert" double CD. IMO, I can only understand the band's decision pretty well. It is by no means a masterpiece. Just a Morrison showcase.

"Summer's Almost Gone" also flirts with the psychedelic sound, but more on the melodious side. A bit bluesy with some slide guitar sounds. Very good number I must say.

The short "Wintertime Love" is a bit of a filler but it features the so recognizable Manzarek sound. The next track, is IMO the best one of this album. The most contravertial one of their career (even more than "The End"). It is a protest song against the Vietnam War. The clip for this song (available on the fantastic DVD "The Doors" : 30 Years Commemorative Edition) has been forbidden in the US for a very long time. It is interesting to know that in 1968, The Doors already released a video clip to support one of their song.

Next two songs are rather poor : "Spanish Caravan" like it is titled, features a flamenco guitar style which is not very convincing. With "My Wild Love" we reach the bottoms : this Indian "chant" has really nothing to offer. I guess that since the album was already very short (just around thirty three minutes), they had to publish it but frankly it is totally useless and boring.

"We Could Be So Good Together" is a clone for "The Unknown Soldier" at least musically. The chorus is very catchy. It is another of the good songs featured on this album. "Yes, the River Knows" is a very melancholic tune. Very quiet, almost piano-bar sound with nice Krieger guitar play. And this guy can play, I bet you. I have seen him recently with "The Riders Of The Storm" (in January 2007) and he was really impressive.

"Five To One" is also a great number. A bit incoherent or hectic if you prefer. It sounds as if it was played live (the real essence of the band was live actually). They could develop their most crazy side at the max. The hypnotic riff works very well and Jim is brilliant in his tortured role.

Ouups. The album is already finished ! I told you it was a very short one.

I prefer this one compared to their second album. Some great songs, some very interesting but less commercial ones ("Not to Touch the Earth" and "The Unknown Soldier") makes it a very good work. Four stars.

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Posted Friday, April 20, 2007

Review by The Whistler
PROG REVIEWER
3 stars Oh. Crap. No way. This album is horrible. Ignore my rating, that can't be accurate. After the mighty might might of Strange Days, I guess it occurred to the studio heads that no one in their right mind would honestly want to listen to a bunch of bizarre circus weirdoes trying to create prog rock two years too early, so the best thing in the world (to regain hit status after Days missed the mark the debut hit) would be to reinvent the Doors as a bunch of pop rockers. And to think, this was in the days before cocaine was so damn popular...

And before you say anything, just compare the covers! Strange Days? All moody and Doorsy and, well, strange. Then Waiting For the Sun, where they look like a bunch of pop idols trying to look all Gothy and cool. Waiting for the Sun? Yeah right; they're waiting for the next paycheck!

So, after hearing the Doors fade out with "When the Music Creeps Up Behind You and Stabs You," we get a pawp rawkah entitled "Hello, I Love You." Oh good. God knows I love songs with "Love" in the title. Although I once didn't care for this song, I've learn to sort of accept it. Pop rocker it is, but one only the Doors could pull off. The blaring synths pared with that evil guitar? And the anti-romantic lyrics literally screamed by Jimbo? It passes.

"Love Street," not so much, and the problems with the album become steadily apparent. The tune itself is okay, but kinda simple and dorky, not to mention overlong. Not even Jim's monkey poetry can save this one. Strange then that it's right next to "Not to Touch the Earth," one of the freakiest songs ever recorded. Bit of a chunk of the "Celebration of the Lizard" suite, you understand. I guess it works outside of the suite, if only as a kind of paranoia number, but the march like tune is so damn enthralling. Not to mention all the weird starts and stops, lyrics, organ noises, etc.

But, just when it starts getting good, it gets bad again. "Summer's Almost Gone" is a fairly ineffective ballad; it grasps at the Strange Days material, but can't hope to reach it. "Wintertime Love" is even worse; it's a dorky as sin waltz, schmaltz running in all directions.

"The Unknown Soldier" manages to be both melodically and aesthetically interesting though; a bizarre bit of rock theater/war protest/hilarious joke dumped onto the album. Nice organ work. "Spanish Caravan" is another bit of experimentation, a very cool bit of flamenco exercising. But it feels somehow...I dunno, incomplete, like it was scrambled together.

"My Wild Love" is the final experiment, and by far the worst. An attempt to create a chanting mantra is stretched WAY over the limit. Perhaps as an intro to a song yes, but alone? No. "We Could Be So Good Together" also falls flat on its face; it sounds just like one of those crappy pop songs off the debut. Except THIS one has a totally awesome guitar solo in the middle that is horribly unsuited for the song, and actually detracts from it rather than builds it.

"Yes, the River Knows" is a sort of acoustic ballad, but it's too lifeless and overlong to really do anything. Which is a pity, because there are some great musical ideas locked into its...two minutes and so many seconds, are you sure? Anyway, all the sappy pop and spotty experimentation has been nice, but the TRUE Doors classic has been saved for last. Hard rocker/ode to death and destruction "Five to One" is definitely the best song on the record, and one of the band's most fascinatingly designed. Dig the cool organ riff, the guitar solo that moves UNDER the song for most of its running time, the drumwork that occasionally leaves the band net-less, and Jimbo making all kinds of weird noises. And the two note bass riff; who else could pull that off with such menace?

But the problem is, not every song is so cleverly crafted. A couple of the songs are just so...stupid. The Doors reinventing themselves as a dopey pop band? C'mon, what? Another problem is that some of the songs range from interesting to pretty good. And yeah that's a problem, because it means that the flow of the album is all screwed up. This is far, far from the worst album I've ever heard, but it is certainly the most tedious and difficult to listen to of all classic Doors albums.

What makes it worse is the fact that the Doors haven't stopped trying exactly. There's still some classy experimentation on the album. Therein lies a problem as well, since the experimentation doesn't always work ("My Wild Love"). So that leaves us with...uh...hmm...a bunch of WEIRD crap. And "Five to One."

So luckily enough for us, the decent folk of the world who like our rock to be innocently pretentious and falsely black (or innocently black and falsely pretentious, I forget how that works), "Soldier," "Earth" and even "Hello" can tease the Doors out of the speakers.

And, alright, I guess the cover is okay.

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Posted Monday, July 07, 2008

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Waiting for the Sun is the third album from California psychadelic dark rock band The Doors. Their first two albums are psychadelic rock classics and I regard the second album Strange Days among my alltime favorite albums. Waiting for the Sun continues the style from the previous albums but is generally not as dark.

The music is still driven by Ray Manzarek´s circus music like organ playing and Jim Morrison´s dark and pleasant vocals but Robby Krieger´s innovative guitar lines and John Densmore´s at times jazzy drumming is also a big part of The Doors sound. As usual The Doors use session bassists. This time it´s Doug Lubahn, Kerry Magness and Leroy Vinnegar.

We get some nice pop/ rock songs here in Hello, I Love you, Love Street and We Could Be so Good Toghether. A blues song in Five to One. A few soft pop/ rock songs in Wintertime Love and Yes The River Knows and the three highlights of the album Unknown Soldier, the beuatiful Spanish Caravan ( one of my favorite Doors tunes) and the psychadelic and strange extract from the 20 minute + epic The Celebration of the Lizard. Too bad they didn´t include the whole song but in those LP days there was a limited playing time available.

The musicianship is excellent and even though Waiting for the Sun has the most muddy production of the three first albums the sound is still good.

Waiting for the Sun is not my favorite Doors album but it´s definitely worth 4 small stars. I can see that many have critizised that The Doors had aimed at a more commercial sound with this one but despite the generally lighter mood on Waiting for the Sun I don´t think it´s too commercial. A great album IMO, but if you´re new to The Doors I would recommend that you start with the first two albums before listening to this one.

This would be their last psychadelic tinged album as they would experiment with a new sound on the next album called The Soft Parade.

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Posted Wednesday, September 10, 2008

Review by friso
PROG REVIEWER
4 stars The Doors - Waiting for the Sun (1968)

First of all, I'll rate this record as a proto-prog record, not a a progrecord.

The Doors might just be the first '70 progband I listened to after seeing the movie about the Doors which I though was great back then. I recently got some vinyl copies of my Doors collection and decided it was time to write something about them here.

This record has so much to offer for everyone. Two happy easy listening moody rocksongs with great vocals of Jim, the psychedelic/proto Not To Touch The Earth, The politically important Unknown Soldier, the progressive masterpiece SPANISH CARAVAN, the native/drunk sounding My Wild Love (which I like very much), The easy going typical Doors- track We could be so Good Together, the progmasterpiece YES THE RIVER KNOWS and the tour-de-force-extreme Five to One (one of my favourite Doors). Some other songs are nog as important, but still they are nice moody Doors tracks. What is kind of desturbing is the missing song Waiting of the Sun, which would appear on the Morisson Hotel album.

For the time being this could be considered a masterpiece of proto-progressive rock. Only the Moody Blues and Pink Floyd made a more progressive record in 1968 as far as I know.

On side one the progressive/acid Not to Touch the Earth is one of the best tracks. The hypnotic rythm with the obsessed vocals of Jim make this a special Doors song with some little reference to the atmospheres of the stranger parts of The End. Wintertime love and Summers almost gone are acceptable Doors songs, but not as inspired as most of their work.

The main reason to buy this album is actually the crazy perfect second side. Spanish Caravan and Yes The River Knows are both excellent songs with much progressive songwriting. Spanish Caravan uses classical Spanish influences played with organ and acoustic guitar (in the second part with electric guitar) with Jim's vocals sounding very inspired. Yes the River Knows is a jazzy/mellow/melodic song. Personally this song is as special for me as The End. I just love it. The melodies are original, melancholic and they make me feel at home. The last song Five to One is one of my favoure powersongs of the Doors. Though the instrumentals are minimal here, Jim shows vocal capabilites of the highest rank. No one can ever do is as good again, this is THE recording.

Conclusion. A perfect protoprog record with some of my favourite songs of all time. Very inspiring record for other great bands to come. Four Stars without doubt.

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Posted Thursday, October 15, 2009

Review by Bonnek
SPECIAL COLLABORATOR Prog Metal Team
2 stars After two ground-breaking albums, Waiting For The Sun is surprisingly dull album with mostly average song writing and a dreary performance. This album and the next show none of the energy and passion that characterizes the other Doors albums.

The style hasn't changed all that much, dominated by psychedelic organs, lighthearted circus melodies and Jim's morose but forceful baritone. The songs are lighter and mellower and the inspiration to make them come alive is mostly absent. Hello I love You is a good pop song that has nothing remarkable except for dirty grinding organ that darkens the second half of the song. Love Street is the first of a couple of very mediocre ballads that fill up this album.

Not to Touch The Earth, Unknow Soldier and to a lesser extent My Wild Love are crazed psychedelic experiments but still nothing that rocks my socks off. That honor can solely be granted on two songs here: Spanish Caravan and Five To One. The first is an original and delightful eastern tinged little epic. Starting with charming Spanish guitar and changing into a psychedelic organ that twists up and down beautiful eastern scales. Five to One is a dirty and heavy blues plod that finally injects some life into this album. But it's too late and too little really.

The album runs for a meagre 34 minutes of which 20 are average and only 2 songs excellent, it makes this album only relevant to fans. 2.5 stars

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Posted Thursday, January 07, 2010

Review by Finnforest
SPECIAL COLLABORATOR Honorary Collaborator
3 stars The Celebration of the Lizard and colossal short-sightedness

The Doors 3rd album "Waiting for the Sun" could have been their first great album, but the project was thwarted from within. Along with a score of fine new tracks the band created a sprawling side-long epic which was to be the centerpiece, but the track was cut by their producer who instead filled out the album with more typical (safe) fare. "The Celebration of the Lizard" was The Doors most exotic creature to date and would have made Waiting a pure classic. It can't be part of this review though, except to note that the latter day CD reissue includes what exists of the piece. Even if unfinished it is enthralling listening that would find its way into live Doors shows. And even sans the Lizard, the 3rd album became the band's first, and their only, number one album. While critics were largely unimpressed with this one, the fans embraced it.

While the album started with the weakest Doors lead-off yet in "Hello I Love You" it was generally uphill from there. Then came the delightful "Love Street," which is probably my favorite softer Doors track. Short and sentimental, oddly whimsical with fantastic piano by Manzarek, it somehow invokes universal nostalgia for "home" for both listener and artist. Written about the street in Laurel Canyon where Jim and Pam lived, it's really the track that made me fall hard for The Doors. A small portion of Lizard made the album in "Not to Touch the Earth" but outside of the larger piece it lacks the punch. "Summer's Almost Gone" is another great track I would have chosen for "Weird Scenes" (the Doors odd compilation masterpiece.) It has that combination of beauty and sadness that is at the very core of The Doors appeal. Also notable is Krieger's "Spanish Caravan," the derivation of his playing came from acoustic guitar and not rock, he'd only been playing electric for six months when he joined The Doors. The album ended with the ferocious exalt of "Five to One" putting the straights on notice again that the freaks were coming and would not be denied. The "ballroom days" may indeed have been over and yet the counter culture of the Left, whose creative talents were spectacular, failed the country as much as those they criticized if in different ways. Of course many Doors fans would see it just the opposite, both then and now:

"the first album's title represents an opening; the second is a description of what we find when we come inside. And this third describes the emotional state of those inside, longing for an end to this collective darkness." -Paul Williams

Ironically, we're there again Paul, only in reverse. Amazingly, Waiting was recorded just downstairs from where Zappa and the Mothers were working on their album. What a convergence that point in time and space must have been. "Waiting for the Sun" is a good album that should please many Doors fans despite the tragic mistake of dropping Lizard. Get the Rhino reissue which includes the 17 minute Lizard and hear what the album could have been had Rothchild not been short-sighted! 3 1/2 stars.

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Posted Saturday, August 21, 2010

Review by Warthur
PROG REVIEWER
3 stars Having attempted to record Jim Morrison's sprawling poetic saga The Celebration of the Lizard as a side-long epic, only to conclude that it simply didn't work in that format, the Doors were left scrambling to complete sufficient material for their third album. The upshot of this is that two more of their early songs were pulled out of the vault, thoroughly revised, and recorded for the first time to fill the gap - Hello I Love You and Summer's Almost Gone - and the album was one of their shortest. It was also something of a departure from their previous work - as well as the placid Summer's Almost Gone, tracks like Love Street, Wintertime Love, and Yes the River Knows made this the Doors' most mellow, laid-back album, often meandering away from the brooding, passionate intensity that made their first two albums so compelling.

The Doors in a romantic mood works better than expected; most of the quiet tracks are quite beautiful, and it's not as though the album is entirely without grit - the shrieking close to Hello I Love You is as demented as anything on the first two albums, Not To Touch the Earth (a fragment of The Celebration of the Lizard) represents some of Morrison's creepiest poetry, and final track Five to One is one of the most threatening songs the band would ever record. But that said, the album still shows a certain lack of polish here and there which stops it attaining a perfect score; Not to Touch the Earth might have good lyrics but the musical backing is not interesting, and Spanish Caravan likewise isn't especially interesting - in fact, several of the second side tracks (including Five to One) tend to blend together into one mass.

A little bit more lightweight and forgettable than the earlier Doors albums, Waiting For the Sun still has a lot to recommend it. It's just a shame the band wasted so much time chasing the lizard.

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Send comments to Warthur (BETA) | Report this review (#449657) | Review Permalink
Posted Thursday, May 19, 2011

Review by AtomicCrimsonRush
SPECIAL COLLABORATOR Symphonic Team
3 stars "Bullets strike the helmet's head"

"Waiting for the Sun" from The Doors is a notch up from the disappointing two albums to follow. At least here are some quintessential classics that are undisputable in the annals of rock. The mesmirising anti-war anthem, 'The Unknown Soldier', is incredible. It begins with creepy keyboards and Manzarek is at his best on this track. Morrison is full of conviction as he speaks of "Breakfast where the news is read, Television children fed, Unborn living, living dead, Bullets strike the helmet's head". Here we have the horror of war eloquently expressed as people watched from their lounge rooms the events of the Vietnam War unfold on their television screens.

The film clip that went with this is unforgettable. At one point Morrison is shot in a firing squad and blood drips out of his mouth all over the poppies. The middle of the song is powerful, Densmore performs a marching tempo with military precision, then a sergeant shouts "Ready! Aim! Present Arms!", rifles are loaded, a drum roll, the rifles shoot and a very soft keyboard is heard as Morrison sadly relates the plight of the soldier. It bursts suddenly into a furious vocal and Manzarek intensifies the sound. Then there is the celebration that the war is over, as we hear crowd cheering and bells tolling. Sheer genius, capturing in one song all of the horror, sadness and glory of the Vietnam era.

Other ominous atmospheres are captured on 'Not to Touch the Earth'. I also like 'Hello I love You' with its infectious hook and Morrison strong on vocals. 'Spanish Caravan' is enigmatic with Krieger's Flamenco guitar. 'Five to One' features the famous phrase of Morrison screaming "No one here gets out alive!" and is definitely one of the powerful songs of The Doors, certainly one of the heaviest. Overall this is definitely a good album though not up to the standard of the lightning in a bottle, the debut masterpiece.

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Send comments to AtomicCrimsonRush (BETA) | Report this review (#623379) | Review Permalink
Posted Tuesday, January 31, 2012

Latest members reviews

3 stars This is a nice album of quirky, fun songs. The Doors generally went for a softer, earthier sound on many of the tracks. Jim Morrison also sounds a bit warmer and more down-to-earth, without the echoey effect on his vocals from the first two albums. Not that there's anything wrong with that! I love ... (read more)

Report this review (#517217) | Posted by Frankie Flowers | Thursday, September 08, 2011 | Review Permanlink

4 stars This is where it all fell apart for The Doors. Before they stepped foot in a studio for the first time, the band had enough material for about three albums. The self titled album is a near masterpiece while the second, "Strange Days", is a masterpiece of sixties psychedelic rock. The third, wh ... (read more)

Report this review (#339530) | Posted by iluvmarillion | Wednesday, December 01, 2010 | Review Permanlink

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 circu ... (read more)

Report this review (#263798) | Posted by Keetian | Monday, February 01, 2010 | Review Permanlink

4 stars 'Hello, I Love You' is a really commercial opening song here, but it's catchy and funny and I still love it. 'Not To Touch the Earth' ranks up there with my favourite Doors songs. It's got a truly distinctive sound to it. 'The Unknown Soldier' and 'Spanish Caravan' are both strong and somewh ... (read more)

Report this review (#170174) | Posted by digdug | Wednesday, May 07, 2008 | Review Permanlink

1 stars Their worse album. Ever.Only two good songs here (The Unknown Soldier and Not To Touch The Earth - this second song was originally taken from a long suite called 'The Celebration Of The Lizard', and initially, this suite was intented to be one of the two sides of the album. You can hear the enti ... (read more)

Report this review (#164599) | Posted by Zardoz | Saturday, March 22, 2008 | Review Permanlink

5 stars nice one. Another exelent doors album where all the song are good. Spanish Caravan with Kriegers flamengo like guitar (which has taken from Isaac Albeniz classical song Alhambra) and on the other hand my wild loves hand clapping beside camp fire ( ok it's done in the studio but I mean what ... (read more)

Report this review (#107234) | Posted by Siddhartha | Friday, January 12, 2007 | Review Permanlink

5 stars My favourite Doors album. There is no epic here, but all the melodies on this album are great. It's a strange history with this record. There is no title track here (which is on Morrison Hotel), and no long suite that Celebration Of The Lizard was ment to be. But, all in all it's a geniuos album. ... (read more)

Report this review (#105443) | Posted by Deepslumber | Wednesday, January 03, 2007 | Review Permanlink

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