The Doors
Waiting For The Sun

THE REVIEW

"Waiting For The Sun" is The Doors' third work. It's a strange album; the tracks are of lower quality compared to the first two works, and I find that it is the most heterogeneous and dissonant album of the group. Surely there is very little Rock (like "Break On Through"), and other moods dominate the album.
It is full of pop and psychedelia camouflaged in decadence; Krieger and Manzarek transform the sounds of their instruments; if before they were more enveloping, dark, but also powerful and lashing, now they are sweet, light, redundant, sharp, and hypnotic.
The music is quirky, misleading, and in stark contrast with Jim’s increasingly deep and cavernous voice.

The psychedelic runs through the entire album, even though it is not the principal genre of the album, it influences the group in many songs, starting with the hit "Hello, I Love You". Seemingly an innocuous carefree pop song, yet it is based on extremely hypnotic, repetitive, almost obsessive music, thus ensuring a quick grasp.
"Not To Touch The Heart", a track taken from the theatrical composition "The Celebration Of The Lizard", clearly shows the influence of psychedelic roots; here, the sounds are undulating, dry, and deviant. Manzarek's organ hides, striking us with sudden flashes and vibrant notes.
The clearest and most beautiful example of this psychedelic influence is "Spanish Caravan"; it is a track (as the title says) very Spanish-like, with the guitar keeping the tempo with a repetitive riff that at one point quiets down, only to start again (now distorted) with more strength and vehemence than before, turning the piece into a jumble of disconnected sounds (among them, there's also the sound of the wind blowing).
"My Wild Love" is an almost instrument-less gospel-like piece, if not for that tambourine that sounds much like the hiss of a snake. It's much stranger than the usual Doors tracks, but I find it to be complete and well done nonetheless.
Another strong aspect of the album is pop; there's the piano and wonderful pop of "Love Street", which is also the purest, there's the pop of "Yes, The River Knows", also gospel-like in the introductory part, there's "Wintertime Love" with classical influences and harpsichord touches. There's the nostalgic ballad of "Summer Almost Gone", so decadent and lazy, sweet and sad. "We Could Be So Good Together", the most pop-rock track of the lot, not transcendent like other pieces of the group, but still not bad.
"The Unknown Soldier" and "Five To One" remain: the former is a very famous piece, the theme is somewhat predictable, but the execution is among the most significant and sincere regarding the political theme. The theatrical idea of the central interlude is also very original.
"Five To One" is in my opinion the best track, the most rock as well as the most powerful and lashing. It talks about the relationship between blacks and whites; it's the ideal closing of the album, even if very different from the rest.

Ultimately, "Waiting For The Sun" is an excellent album, not a masterpiece and certainly inferior to the first two. However, it remains a very original and different album from the others; there is little rock, but the alternatives are just as expressive.
The Doors, on their third attempt, have managed to renew themselves even though Morrison was dependent on alcohol and in a creative stalemate.
I recommend it to those who wish to discover a little-known creative aspect of the group.