The Doors Waiting for the Sun [Bonus Tracks]
Down Beat: 3.5 stars out of 5 -- "[With] soft-shoe la la's, waltz-time pop, flamenco-infused exoticism and chain-gang vocals."
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- Released: March 26, 2007
- Originally Released: 2007
- Label: Rhino
Q - 11/00, p.1243 stars out of 5 - "...A mixture of hefty pop singles, bullfrog rockers and nonsense poetry..."
Down Beat - p.693.5 stars out of 5 -- "[With] soft-shoe la la's, waltz-time pop, flamenco-infused exoticism and chain-gang vocals."
- 1.Hello, I Love You
- 2.Love Street
- 3.Not to Touch the Earth
- 4.Summer's Almost Gone
- 5.Wintertime Love
- 6.The Unknown Soldier
- 7.Spanish Caravan
- 8.My Wild Love
- 9.We Could Be So Good Together
- 10.Yes, The River Knows
- 11.Five to One
- 12.Albinoni's Adagio in G Minor - (Bonus Track)
- 13.Not to Touch the Earth (Dialogue) - (Dialogue, Bonus Track)
- 14.Not to Touch the Earth - (Take 1, Bonus Track)
- 15.Not to Touch the Earth - (Take 2, Bonus Track)
- 16.Celebration of the Lizard - (Bonus Track)
The Doors: Jim Morrison (vocals), Robbie Krieger (guitar), Ray Manzarek (keyboards), John Densmore (drums).
Additional personnel: Leroy Vinegar (acoustic bass), Douglas Lubahn, Kerry Magness (bass).
Originally released on Elektra (74024).
All songs written by The Doors.
Personnel: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); Leroy Vinnegar (acoustic bass); Douglas Lubahn (electric bass); John Densmore (drums).
Audio Mixer: Bruce Botnick.
Audio Remixer: Bruce Botnick.
Liner Note Authors: Paul Williams ; Bruce Botnick; Paul Williams .
Introduction by: Bruce Botnick.
Photographers: Guy Webster; Anthony Stern; Frank Lisciandro; Chris Walter; Andrew Maclear; Paul Ferrara; Barry Plummer; Jan Persson.
The Doors' third album showed the band in transition, even as "Hello, I Love You" became the Doors' second number-1 hit.
The band's songs set Morrison's poetic and often bizarre lyrical imagery against the spiraling keyboards of Manzarek and Krieger's bluesy guitar. Their chart success, however, alienated them from their original audience, who no longer considered them "underground" enough, while their concert audiences increasingly consisted of teenage girls, drawn by Morrison's sexual performing style. "Hello, I Love You" pushed them firmly into the rock mainstream.