on 22 September 2008
Los Angeles' finest The Doors released their third album, "Waiting for The Sun", on the back of breaking the UK market with a new catchy song, only to find themselves caught between being far too underground for mass consumption and being overly commercial for their hardcore fans.
"Waiting for The Sun" was released in the summer of 1968 on Elektra Records, it saw The Doors release material of a much more laid back nature then their previous two efforts, with mixed results on the buying public. Much has been made of the inclusion of their big UK smash "Hello I Love You", a song previously recorded on a 1965 demo tape, here it is the opening track on this album three years later, aside from the criticism surrounding its inclusion, on its own it remains an excellent song.
Track two on the album is much more in line with the general mood of the album, "Love Street" is classic Doors meets ballad, giving Morrison free range to be as beautiful as ever creating laid back gold. This happens throughout the album, "Summer's Almost Gone", "Wintertime Love" and "Yes The River Knows" are songs which I can only describe as lovely, with Robby Krieger on guitar and Ray Manzarek on keys creating the backdrop needed for their charismatic frontman.
It should also be said that there are some classic oddball Doors' tunes to be had on this album too, noticeably with Track 3 "Not To Touch The Earth" and the antiwar song "The Unknown Soldier", both of which are a fine listen. Incidentally track 3 was to play a bigger part in the album then it actually did. This song is actually just a section of a much larger song, "Celebration of The Lizard", which featured on a later live album.
The criticisms of this album are not unknown to other bands from throughout history. This third album was trying to be all things to all men, but in the end it found itself in no mans land, not driving home the bands new found international fame after Hello I Love You with mainstream audiences, and dividing hardcore Doors fans who just wanted another 1967 album or at least an album with the full version of "Celebration of The Lizard" on it.
But enough of this negativity, that was then and this is now, with hindsight what we have here is actually The Doors maturing somewhat and generally creating a more refined sound. In 2 years time the band would release the much-celebrated Morrison Hotel, I would argue that without this third album, The Doors wouldn't be able to have done such work in 1970. This album has a hit, spookiness, gorgeousness, is rich and all the while maintains an edgy quality, that's really all you can ask for from a Doors record surely?
So not as bad as has been said by critics in the past, as with all Doors' albums, turn the lights off and listen to it in the dark.
The Doors' third album when released in 1968 contained no extended musical piece like `The End' or `When the Music's Over', and revealed a softer side. Mixed in with the more up-tempo pop songs `Hello I Love You' and `Love Street' are poignant ballads like `Summer's Almost Gone', `Yes, the River Knows', and the powerful `Wintertime Love'. Robbie Krieger proves he can play Classical guitar on `Spanish Caravan' and there is a streak of impassioned social-political protest with `The Unknown Soldier,' which unfortunately has not aged well.
On the 2007 40th Anniversary re-mix, Morrison's unfinished `Celebration of the Lizard' is offered as a rambling 17-minute extra, along with three previously unheard takes of the only part of his original epic deemed worthy of inclusion on the album, `Not to Touch the Earth'. Manzarek, Krieger and Densmore also demonstrate their versatility by performing an out-and-out Baroque classical piece, namely Albinoni's Adagio in G Minor.
Overall `Waiting for the Sun' is something a bit different from this versatile and unpredictable band, a mid-point in their five highly creative years before Morrison's untimely demise on 3rd July 1971. It's full of good stuff: if you've never heard it, check it out.
on 6 April 2013
I was thrilled to receive the SACD remaster of the original. Analogue Productions did a good job as usual. I don't need to comment on the contents because I dig the Doors in general. All I can say is that SACD rules if prepared properly. Recommended for any fan of the Doors and SACD format.
on 1 September 2002
Classic opener "Hello I love you" gives a bit of a false dawn, really. It's hypnotic, gritty beat is just classic Doors at their very rock and roll best. This is followed up by "Love Street", which you will either love or hate. It certainly hasn't aged too well, but is a decent enough song, although it is hardly "Crystal Ship" as seen on their debut. Track 3 is "Not To Touch The Earth" and is a great, surreal song that twists and turns, Morrison's vocals sounding totally sincere and justified. Tracks 5 and 6 are in the same vain as "Love Street", but it is the powerful "Unknown Soldier" that really picks the album up. The wonderful "Spanish Caravan" is mysterious and beautiful, with a flamenco guitar opening things up before the sweeping guitar takes over. "My Wild Love" is, to my knowledge, the only Doors track that has no music playing. Morrison croons his gorgeous tones over the top whilst an indian tribe chants in the background. This enhances Morrison's shaman image, and also keeps the album going nicely. Tracks 10 and 11 are interesting, but not the Doors at their best, and the way they perform it seems to suggest they know that. However, album ender "Five To One" is enormously powerful and wonderful. The classic Drum intro, quickly followed by the thudding guitar, set the scene and it soon escalates into perfection. In conclusion, a very strong and somewhat underrated Doors album that sees the band in typically intriguing fashion.
on 4 January 2009
I bought this new version of "Waiting for the Sun" to get a studio-version of the legendary unreleased song "Celebration of the Lizard". Obviously the strongest part of the song is, what was released on the original album as "Not to Touch the Earth", and the track is what it says, "a work in progress". Still interesting moments. The other takes of "Not to Touch the Earth" which are included as bonus-tracks have made me realize how good a song this really is.
What surprised me the most when I listened through the album was that I thought it sounded different. Was it really that long since I last heard it? I did not realize that the album had been both remastered and remixed. I guess it will take some time to get used to these new "versions" - but the sound is really crisp and clear, and if I want to hear the old mixes I can always return to the originals.
The original album contains some the Doors' most poetic and melodic moments like "Yes, The River Knows", the exquisite "Love Street" , which is one of the highlights of the album. The moving "Summer`s Almost Gone". "Wintertime Love" and "Spanish Caravan" are other highlights.
"Not to Touch the Earth" and "Five to One" : Classic Doors !!!
The hit singles "Hello I Love You" and "The Unknown Soldier" may not have aged as well as the rest of the album`s songs. Except of course the weak "My Wild Love" which probably always will annoy me.
on 16 January 2007
I think that this is one of the best doors albums. However i feel it is wrongly missed out for what it does not contain, i.e the celebration of the lizzard. However i feel in some ways this is a good thing, as it shows they are not a one trick pony, where all there albums end in a long epic song. Furthermore people are also disappointed taht the title track 'waiting for the sun' doesnt appear until their 4th album, but the in my opinion i feel it does a good job being on morrison hotle.
People often say that the doors took more comerical root to this album. But i disagree this album contains many songs (my wild love, the unknown solider, not to touch the earth, five to one) which are challening musically now, let alone for the 1960s. And yes the album does conation comercial songs such as hello, i love you, but then again so did all their other albums (like light my fire on the debute). I feel the doors needed these comercial songs to get heard and once people then buy the album they look beyond the singles and to the greatness that is the doors.
Every song on the album is worth a listen, and i feel that this is the most easiest doors album to get into.
One of my favourite Door's albums (along with the other five), Waiting For the Sun managed to overcome "third album syndrome" with a burst of creative maturity that cemented the band's status as one of the most successful experimental bands of the sixties (or any other decade). It sparkles with energy, reveals some of their tenderest work and presented them both with their only number one album, and first chart topping single (Hello, I Love You).
Many bands suffer with their third album: they are normally signed with enough material for two albums, and then have to write fresh songs whilst touring and in the studio. Here, though, The Doors come across as confident and exuberant as ever. Morrison's voice still has a warm, summery chime (precipitating the grizzled, whisky-house laments of LA Woman) but he now commands his lyrics far more majestically, a subtle shift in development away from the uncontrolled passions of his youth. The creative output is as strong as ever, and, whilst still scouring the darker sides of Morrison's poetical consciousness, the band manage to retain the breezy summer-rock feel that distinguishes them from some of their more indulgent contemporaries.
The album was supposed to draw out with another dark epic (based on Morrison's poem, Celebration of the Lizard, of which, on this special edition, a 17-minute demo is included), though only the musical centrepiece of this (the pulsating, and harrowing, Not To Touch the Earth) was deemed fit for release. Other dark matters include: The Unknown Solider (a powerful anti-Vietnam statement, that manages to persuade through a alternating combination of fragile subtlety and brute force) and Spanish Caravan (a stormy and subversive demonstration of Robby Keriger's flamenco roots). To counter these shadows, Love Street (a whimsical serenade for Morrison's lover Pamela Courson), and Wintertime Love (simply a heart-warming love song), give us two of The Door's most beautiful works. Hello I Love You, the albums opener, is a vibrant pop-song that was written much earlier than the rest of the material here, and it does show. The other four tracks are fun and functional (Summers Almost Gone and We Could Be So Good Together), or quirky and poetical (My Wild Love and The River Knows) little curiosities that punctuate the summery storms.
You can't really go wrong with Waiting For the Sun, it gives you a full-blooded taste of The Doors performing in their prime and is as unique and impassioned as any of their work. It's charming and challenging in equal measure, but always manages to raise a smile and is one of my favourite "I need to sit down" albums...
on 5 June 2014
Reading other reviews of this I realise I'm a fan of one of the Doors' more underrated albums. Can't understand why. Not a bad track on this, 34 minutes seems shorter. There seems to be a bit of snobbery about the inclusion of Hello, I Love You, maybe some feel that it sounds a bit tacked on and doesn't fit with the album. I disagree, I think it's a great pop song, and a good counterpoint to the rest of the album. If you think you're going to get a poppy love song album, think again! Love Street has a sweet melody, delivered with a raised eyebrow by naughty uncle Jim (see the title of this review), then Not to Touch the Earth takes us into familiar darker Doors territory. The Unknown Soldier, although significant as a "sign of the times" piece is still powerful. Rewarding.
on 29 March 2012
Often the words 'Remastered and remixed' translate as 'louder and with lots of added bass' but with these re-issues there really has been a noticeable improvement on previous releases
I loaded the songs onto Soundforge to check the soundwave of the files, and for all songs the full dynamic range has been preserved with no clipping
Most modern albums and so called remasters from 1999 onwards, have been made to be as loud as possible and often feature vocals being pushed as far forward in the mix as possible
and unrealistic added bass for people listening on laptops or their iPods, resulting in a loss of quality and range of frequencies between the instruments
Thankfully with all the 40th anniversary releases this isn't the case, and the dynamics of the songs have not been sacrificed for the sake of extra loudness and punch.
I've a proper set of KRK studio monitors for my own recording work, and through them the album sounds incredible
especially the less polished outtakes like Celebration of the Lizard, which give a felling of being in the room with the band.
Again, similar results with a set of closed back headphones I also use for recording, an all round clear full sound.
It wouldn't be my favourite Doors album,maybe 4th or 5th
but as a product it's well worth buying or double dipping if you already have it
The inclusion of the 17min long Celebration of the Lizard makes it essential if like me you love the longer songs by The Doors.
I've always loved 'Not to touch the Earth' so it's great to hear it expanded as part of it's original inception
Part of me will always wonder how the album would have turned out if they had completed the song
and had it take up one full side as originally planned, still though I've found new love for this album with this re-issue.
on 7 February 2007
The Doors back catalogue has been due a makeover for years, and wow, haven't they spent some effort on it. The sound quality on these discs has never been bettered in my opinion. If you're thinking of upgrading your entire Doors collection, consider the Perception Box Set, if not read on...
This album contains some great songs (Five to One, Unknown Soldier), but it's not up to the exemplary standard of the first two albums. Songs like My Wild Love; Yes, the River Knows; We Could Be So Good Together and Love Street are OK songs, but they're musically and lyrically `light'. They're not the dense, poetic, dark, sinister, songs that crowd the first two Doors albums, and pale when compared against them.
However, the bonus cuts here are particularly interesting. Celebration of the Lizard is the highlight here. This was the song, or piece, that was intended to fill a whole side of the album, but the band were never happy with the result. The studio cut here is not at all bad, though whether it's closer to the Doors' goal than the recording on Absolutely Live or Live in New York is a moot point. Not to Touch the Earth was an outtake from Celebration that made it onto the album as a song in its own right. Albinoni's Adagio In G Minor was always an odd one for the Door's canon methinks...