The Doors ‎– Waiting For The Sun

Elektra ‎– EKS-74024
Vinyl, LP, Album, Stereo, Terre Haute Pressing, Unipak

Companies, etc.



First pressing on brown/tan Elektra vinyl label. "Stereo" on the left hand side on the label in an elongated font.
Released in a (unipak) gatefold sleeve, with brown Elektra inner sleeve.
Some 1st pressings had a "Includes Hello, I Love You" sticker on cover.

Barcode and Other Identifiers

  • Matrix / Runout (Side One [etched]): EKS 74024A-CTH
  • Matrix / Runout (Side Two [etched]): EKS 74024B-CTH
  • Pressing Plant ID (at end of runout): CTH

Other Versions (5 of 283) View All

Cat# Artist Title (Format) Label Cat# Country Year
D-100/4, SRC 107 The Doors Hello, I Love You(LP, Album, Club) Elektra, Elektra, Boek En Plaat, Boek En Plaat D-100/4, SRC 107 Netherlands 1968 Sell This Version
C 92 246 The Doors Waiting For The Sun(LP, Album) SR International C 92 246 Germany Unknown Sell This Version
EKS-74024 The Doors Waiting For The Sun(LP, Album, Club, CRC) Elektra EKS-74024 US 1968 Sell This Version
EKS 74024 The Doors Waiting For The Sun(LP, Album, RE, Spe) Elektra EKS 74024 US 1982 Sell This Version
EKS 74024 The Doors Waiting For The Sun(LP, Album, RE) Elektra EKS 74024 UK Unknown Sell This Version


Reviews Show All 9 Reviews

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December 22, 2018
edited 5 months ago
According to a documentary I just watched. This album was originally planned to include Morrison's poetic medley "the celebration of the lizard" which can be heard on certain live recordings such as 'the doors in concert' 2x cd, 1991. But apparently the record label thought it too 'out there' or whatever and wanted the record to contain more pop songs. So what you end up with on this album is, in my opinion a lot of filler songs. I can only imagine how good this album would have been if songs like Wintertime Love, Summers Almost Gone, Yes the River Knows and We Could Be So Good Together were replaced with the beautiful celebration of the lizard. It could have been another masterpiece on par with their first two albums. It's a perfect example of how major record labels interfere with the creative vision of the artists because they're much more interested in selling records to the teeny boppers.


April 3, 2018

One of the best albums from doors in my opinion. It was definitely the sound in 1968, watching different bands especially the early Steppenwolf singing the Pusher at the Matrix in 67


July 26, 2017

I was sitting at my Grammy’s enameled kitchen table starring off into the backyard, the fireworks from a week before were still a memory, I hadn’t opened Waiting For The Sun yet, I was too lost in the cover, too lost in my own thoughts. I had odd apprehensions about the album, but perhaps these were just projections of my own inner thoughts, flashes of demons yet unheard ... and very much unseen. I hadn’t told anyone that I’d enlisted in the Army, I certainly hadn’t told anyone that I’d requested to join the ever swelling ranks that were building in Vietnam, but you know, as my Grammy pulled a pack of L&M’s from the pocket of one of the countless aprons she forever wore, she asked me with a knowing smile, “Are you gonna play that, or have you developed a system for divining the music?” I laughed, I loved my Grammy, she had a way of putting things that I’ve never forgotten, and living here in her home, sitting at the same enameled kitchen table some forty plus years later, it’s like it was all yesterday ... and I remember thinking that I may have done something foolish.

The Doors were both in and of their time, and more than any other band, created and reacted to the social structure of these times. Mind you, this was the summer of 1968, Flower Power was a distant memory, Peace and Love had turned to violence ... one of Owlsley’s [the man who made ALL of the LSD] distributors had been murdered, much harder drugs were making the scene, General Nguyen Ngoc Loan, a high level Vietnamese Security Officer is captured on film executing a Viet Cong Prisoner, Pinkville [My Lai] erupts, Martin Luther King is assinated, Andy Warhol is shot, Robert Kennedy is also shot and killed ... and here before me stand The Doors, waiting for the sun. Though if you were to ask me today, I’d have to say that the sun is setting behind them, and they’re merely waiting on the next something/anything to rise, and why shouldn’t they, things were moving so fast then that nothing was impossible ... but today we know that not to be true.

“Hello, I Love You” opens the disc, it’s one of those songs Jim penned years before, and you either instantly love it, or you hate it. For the most part the album is filled with more pop hits than one would expect from The Doors, but if you’re patient, there’s also a tenderness found here, a dichotomy, and juxtaposition between rock and jazz that’s perfectly balanced for an album that for the most part is entirely overlooked, probably due to the enigmatic nature of several of the songs ... never the less, it’s a rare chance to glimmer some of the visions that floated through Morrison’s head. In many ways, this was one of the last counter culture records to chart this highly ... and if I may climb way out on a limb, it was the release of L.A. Woman that ushered in that sweeping California sound that would own the airwaves for the next ten years. Proving once again that The Doors not only reacted to the times, but were responsible for creating them.

So there sat Grammy and I, my little portable record player on the kitchen table, the tonearm found the opening groove with a pop, and Waiting For The Sun filtered through the room to the smell of Grammy’s L&M’s. What I took from that album is mostly a memory, I can’t remember the last time I played it ... I do know that despite what Morrison said, he never took over, he copped out and died, and me, I was headed to a land were the young had both the guns, the numbers, and the best dope in the world [“Number” being slang for a joint]. Regardless, The Doors look rather tired and old on the cover, mere ghosts of the young men who only two albums before, rocked a summer and blessed the world with “Light My Fire” ... yet even with all of that, this is a damn fine album, and I’m gonna reconcile it’s lack of play this afternoon, while thinking about my Grammy.

*** The Fun Facts: The cover shot was taken in Los Angeles' Laurel Canyon by Paul Ferrara.

Review by Jenell Kesler


February 3, 2016
Very touching album, not any significant worst than first legendary two.


November 11, 2015
and it on tan label with company old school sleeve


November 11, 2015
I have a use copy eks 74024A - SON eks 74024B - SON, no machine stamp
and the good news is it plays very well indeed


September 21, 2015
Got an NcB, Scandinavian press, butterfly labels. Not on Discogs.


July 29, 2011

This album is a really treat for your ears. From the haunting "not to touch the earth" to the soft "love street" thgis album has all kind of emotions for your pleasure.