The Doors – Waiting for the Sun (1968)
Release Date: July 3, 1968
Label: Elektra Records
Producer: Paul A. Rothchild
Genre: Psychedelic rock, acid rock, blues rock
Length: 36:32
Album Credits
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Jim Morrison – Vocals, lyrics
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Ray Manzarek – Keyboards, organ, piano, backing vocals
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Robby Krieger – Guitar, backing vocals
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John Densmore – Drums, percussion
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Paul A. Rothchild – Producer
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Bruce Botnick – Engineer
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William S. Harvey – Art direction, design
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Joel Brodsky – Photography
Cover Art Design
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The cover features a striking, color photograph of the band in a desert-like setting, with Morrison in a contemplative pose, evoking a sense of anticipation and mystery.
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Joel Brodsky captured the image using natural light, emphasizing a warm, almost sunlit tone to match the album’s title and themes.
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William S. Harvey designed the layout, keeping typography minimal to maintain focus on the photograph. The simple placement of the band name at the top enhances the timeless, contemplative feel of the image.
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The visual theme reflects the album’s exploration of introspection, societal commentary, and the psychedelic culture of 1968.
Tracklist
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Hello, I Love You – 2:14
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Love Street – 2:52
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Not to Touch the Earth – 3:55
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Summer’s Almost Gone – 3:43
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Wintertime Love – 2:39
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The Unknown Soldier – 3:25
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Spanish Caravan – 3:00
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My Wild Love – 2:33
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We Could Be So Good Together – 2:41
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Yes, the River Knows – 3:44
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Five to One – 4:26
Grossing and Ratings
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US Billboard 200 Peak: #1 (The Doors’ first #1 album)
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UK Albums Chart Peak: #16
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Certifications: Platinum (RIAA, US)
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Critical Reception: 4/5 Stars (AllMusic), mixed contemporary reviews praised Hello, I Love You and The Unknown Soldier
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Legacy Rating: Seen as a bridge between the band’s psychedelic experimentation and more mainstream appeal
Fun Facts
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Hello, I Love You became one of The Doors’ biggest hits, reaching #1 on the Billboard Hot 100.
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The Unknown Soldier features a dramatic sound effect of gunfire and marching, reflecting Jim Morrison’s anti-war commentary during the Vietnam era.
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Spanish Caravan includes flamenco-inspired guitar by Robby Krieger, showcasing the band’s willingness to experiment with world music influences.
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Waiting for the Sun was recorded over several months at TTG Studios in Los Angeles, with overdubs and experimentation that stretched the band’s recording techniques.
Trivia
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The album title comes from an unreleased track, Celebration of the Lizard, which Morrison considered a centerpiece for the record. Only fragments of it appear on this album.
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Jim Morrison was increasingly interested in literary and theatrical techniques, influencing tracks like Not to Touch the Earth and The Unknown Soldier.
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The album’s mix of short pop songs and longer, experimental tracks illustrates the band’s evolving balance between commercial success and artistic ambition.
Did You Know?
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The album marked The Doors’ first time reaching #1 on the Billboard 200 chart.
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Five to One became an anthem for rebellion and has been widely covered by later artists.
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The Doors’ experimentation with sound effects and studio overdubbing on The Unknown Soldier foreshadowed techniques used in later psychedelic and progressive rock.
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Despite the commercial success of Hello, I Love You, some band members were critical of its pop-oriented production.
Cover Art Design
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The album cover shows The Doors standing in a sunlit, desert-like landscape, giving a sense of openness and anticipation, perfectly reflecting the title Waiting for the Sun.
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Jim Morrison is positioned slightly forward, gazing thoughtfully into the distance, emphasizing his role as the poetic and enigmatic frontman.
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The band is dressed in dark, simple clothing, which contrasts with the warm tones of the background, creating a visual focus on their presence.
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Joel Brodsky, the photographer, used natural sunlight and wide framing to create depth and a timeless, cinematic quality. His approach highlights both the band’s unity and Morrison’s solitary charisma.
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William S. Harvey, Elektra Records’ art director, kept the layout and typography minimal, placing the album title and band name subtly to allow the photograph to convey the mood.
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The imagery evokes themes of reflection, transition, and the unknown—a visual counterpart to the album’s mix of introspective songs (Love Street, Yes, the River Knows) and more dramatic, experimental tracks (The Unknown Soldier, Five to One).
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The cover has been praised as a classic example of late-1960s rock photography, balancing simplicity, symbolism, and the band’s iconic image.
