AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Analogue Productions - AAPP 74024-45 - 180 Gram Virgin Vinyl
Mastered By Doug Sax and overseen by Bruce Botnick -
AAA 100% Analogue - Limited Edition - Pressed at QRP Quality Record Pressings
All Valve Mastering - Part of The Doors reissue series presented by Analogue Productions
Waiting For The Sun, The Doors’ third album and its first chart-topper, delivered the No. 1 signature smash “Hello, I Love You” and the Top 40 hit “The Unknown Soldier.” The Doors' 1967 albums had raised expectations so high that their third effort was greeted as a major disappointment. With a few exceptions, the material was much mellower, and while this yielded some fine melodic ballad rock in "Love Street," "Wintertime Love," "Summer's Almost Gone," and "Yes, the River Knows," there was no denying that the songwriting was not as impressive as it had been on the first two records.
On the other hand, there were first-rate tunes such as the spooky "The Unknown Soldier," with antiwar lyrics as uncompromisingly forceful as anything the band did, and the compulsively riff-driven "Hello, I Love You," which nonetheless bore an uncomfortably close resemblance to the Kinks' "All Day and All of the Night." The flamenco guitar of "Spanish Caravan," the all-out weirdness of "Not to Touch the Earth" (which was a snippet of a legendary abandoned opus, "The Celebration of the Lizard"), and the menacing closer "Five to One" were also interesting. In fact, time's been fairly kind to the record, which is quite enjoyable and diverse, just not as powerful a full-length statement as the group's best albums.
Technical notes about the recording process by Doors producer/engineer Bruce Botnick:
"Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate.
"If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue eight-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, three-track. On EKS-74007, The Doors, we used four-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room.
"When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters."
• Mastered by Doug Sax Using All-Tube System
• Cut From Original Analog Masters
• Overseen by Bruce Botnick, the Doors producer/engineer
Ray Manzarek, keyboards
Jim Morrison, vocals
John Densmore, drums
Robby Krieger, guitar
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
ORIGINAL MASTER TAPES
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