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DISCID=d20ef310
DTITLE=The Doors / Perception (Disc 3 - Waiting For The Sun)
DYEAR=1968
DGENRE=Rock
TTITLE0=Hello, I Love You
TTITLE1=Love Street
TTITLE2=Not To Touch The Earth
TTITLE3=Summer's Almost Gone
TTITLE4=Wintertime Love
TTITLE5=The Unknown Soldier
TTITLE6=Spanish Caravan
TTITLE7=My Wild Love
TTITLE8=We Could Be So Good Together
TTITLE9=Yes, The River Knows
TTITLE10=Five To One
TTITLE11=Albinoni's Adagio In G Minor
TTITLE12=Not To Touch The Earth (Dialogue)
TTITLE13=Not To Touch The Earth (Take 1)
TTITLE14=Not To Touch The Earth (Take 2)
TTITLE15=Celebration Of The Lizard (An Experiment - Work In Progress)
EXTD=Perception - Disc 3 of 6 (Waiting For The Sun)\n2006 Elektra/Rhin
EXTD=o\n\nThis Compilation (Perception Box) Released November 21, 2006
EXTD=\n''Waiting For The Sun'' Originally Released July 1968\n''Waitin
EXTD=g For The Sun'' CD Edition Released ??\n''Waiting For The Sun'' R
EXTD=emastered CD Edition Released May 1988\n''Waiting For The Sun'' D
EXTD=CC Gold CD Edition Released October 22, 1993\n''Waiting For The S
EXTD=un'' Released as Part of ''Complete Studio Recordings'' Cube Comp
EXTD=ilation Released November 9, 1999\n''Waiting For The Sun'' 96K Re
EXTD=mastered CD Edition Released July 2000\n''Waiting For The Sun'' R
EXTD=eleased as Part of ''Complete Studio Recordings'' longbox Compila
EXTD=tion Released September 9, 2003\n\n\nAMG EXPERT REVIEW: (Percepti
EXTD=on Box) It's hard not to look at the 2006 box set Perception with
EXTD=out a skeptical eye, since it is not only the third box set of th
EXTD=e Doors studio recordings to be released within the course of a d
EXTD=ecade, it is the second in a row to purport to house the "complet
EXTD=e studio recordings" of a group that released six studio albums -
EXTD=- and this doesn't count the live sets and hits comps that have a
EXTD=ppeared during that decade, either. Needless to say, the band has
EXTD= been packaged, repackaged, and reissued more than most, but just
EXTD= because there has been more Doors boxes than necessary doesn't m
EXTD=ean that Perception lacks value. Indeed, it trumps the 1999 box T
EXTD=he Complete Studio Recordings in every sense, since it covers the
EXTD= same territory in a set that is better packaged and better-sound
EXTD=ing while also offering many more rarities. It also offers brand-
EXTD=new remasters supervised by the surviving band and their original
EXTD= producer Bruce Botnick, highlighted by the first-ever release of
EXTD= the classic debut album at its proper speed; apart from that, th
EXTD=e improvements are by and large marginal in terms of the CD audio
EXTD=, but there are also 5.1 surround mixes of each of the albums on 
EXTD=the DVD-Audios that accompany each album in this set, which are t
EXTD=he primary sonic enticements to those who have already purchased 
EXTD=these albums two, three, four times on CD. The bonus material -- 
EXTD=and each of the albums have bonus tracks, ranging from two cuts o
EXTD=n L.A. Woman to ten on Morrison Hotel -- by and large presents so
EXTD=ngs that have been official releases before (including much of th
EXTD=e music from the Essential Rarities disc that was included in the
EXTD= 1999 box), but there have been a handful of rarities excavated f
EXTD=or this set, including the unheard "Push Push" which has been add
EXTD=ed to The Soft Parade. All this makes Perception into what the 19
EXTD=99 box promised to be in its title: the complete recorded works, 
EXTD=more or less, and it's better-looking and better-sounding, too. E
EXTD=ven so, any fan who has purchased the prior sets would be forgive
EXTD=n if they passed on this otherwise excellent box: no matter how w
EXTD=ell-done it is, it's hard not to shake the perception that you've
EXTD= bought this all before. -- Stephen Thomas Erlewine\n\nAmazon.com
EXTD= Editorial Review (Perception Box) \nFor years, the recording ind
EXTD=ustry has asked fans to purchase the same music from the 1960s an
EXTD=d '70s over and over again, via remasterings, repackagings, and, 
EXTD=of course, reformattings. The Doors' box Perception (get it?), cl
EXTD=everly packaged as... a door, does hold some astonishing music, b
EXTD=ut the thing itself is a weird hybrid beast with multiple formats
EXTD= for every release. Each of the group's six albums has not only b
EXTD=een re-remastered (this time by the remaining band members plus o
EXTD=riginal engineer Bruce Botnick as the "40th anniversary mix"), bu
EXTD=t loaded up with a bevy of previously unreleased bonus tracks. Bu
EXTD=t that's not it--for each album, there's a companion DVD, which i
EXTD=ncludes a whole new 5.1 surround sound mix with more tracks, as w
EXTD=ell as the usual DVD extras, i.e., photo galleries, lyrics, and v
EXTD=ideos. That makes 12 discs, much of it essentially redundant. If 
EXTD=you're cool with that, you're in for a treat. From the spookier, 
EXTD=unissued version of "Indian Summer" to the entirely new tune "Pus
EXTD=h Push" and some super-rad footage of the band rehearsing L.A. Wo
EXTD=man, it's easy to fall in love with this swirling, highly sexuali
EXTD=zed, and often brilliant band all over again. --Mike McGonigal \n
EXTD=\nAMAZON.COM CUSTOMER REVIEW (Perception Box) \nCLOSE THE DOOR TH
EXTD=IS TIME - 5 STARS FOR THE MUSIC, November 26, 2006\nReviewer: Mit
EXTD=chell Cassman (BUFFALO GROVE, IL United States)\nIt's hard not to
EXTD= look at the 2006 box set Perception without a skeptical eye, sin
EXTD=ce it is not only the third box set of the Doors studio recording
EXTD=s to be released within the course of a decade, it is the second 
EXTD=in a row to purport to house the "complete studio recordings" of 
EXTD=a group that released six studio albums -- and this doesn't count
EXTD= the live sets and hits comps that have appeared during that deca
EXTD=de, either. Needless to say, the band has been packaged, repackag
EXTD=ed, and reissued more than most, but just because there has been 
EXTD=more Doors boxes than necessary doesn't mean that Perception lack
EXTD=s value. Indeed, it trumps the 1999 box The Complete Studio Recor
EXTD=dings in every sense, since it covers the same territory in a set
EXTD= that is better packaged and better-sounding while also offering 
EXTD=many more rarities. It also offers brand-new remasters supervised
EXTD= by the surviving band and their original producer Bruce Botnick,
EXTD= highlighted by the first-ever release of the classic debut album
EXTD= at its proper speed; apart from that, the improvements are by an
EXTD=d large marginal in terms of the CD audio, but there are also 5.1
EXTD= surround mixes of each of the albums on the DVD-Audios that acco
EXTD=mpany each album in this set, which are the primary sonic enticem
EXTD=ents to those who have already purchased these albums two, three,
EXTD= four times on CD. The bonus material and each of the albums have
EXTD= bonus tracks, ranging from two cuts on L.A. Woman to ten on Morr
EXTD=ison Hotel by and large presents songs that have been official re
EXTD=leases before (including much of the music from the Essential Rar
EXTD=ities disc that was included in the 1999 box), but there have bee
EXTD=n a handful of rarities excavated for this set, including the unh
EXTD=eard "Push Push" which has been added to The Soft Parade. All thi
EXTD=s makes Perception into what the 1999 box promised to be in its t
EXTD=itle: the complete recorded works, more or less, and it's better-
EXTD=looking and better-sounding, too. Even so, any fan who has purcha
EXTD=sed the prior sets would be forgiven if they passed on this other
EXTD=wise excellent box: no matter how well-done it is, it's hard not 
EXTD=to shake the perception that you've bought this all before. \n\nA
EXTD=MAZON.COM CUSTOMER REVIEW (Perception Box) \n*****, November 22, 
EXTD=2006\nReviewer: Craig (Newport Beach, CA)\nI had bought a couple 
EXTD=Doors CD's recently to replace my vinyl records, and was on my wa
EXTD=y to buying all six Doors studio albums on CD, when I heard about
EXTD= "Perception" coming out, so held off. I bought "Perception" yest
EXTD=erday and finished listening to the set today, and am very please
EXTD=d. I bought the "Doors Box Set" a few years ago and was very disa
EXTD=ppointed with that. But I really like "Perception." Maybe it's ju
EXTD=st my personal taste, but when bands try to pass off recordings o
EXTD=f live performances as collectors' gems, I'm never ever thrilled.
EXTD= I just don't get too thrilled listening to live performances on 
EXTD=record (which is why I'm not keen on the "Box Set"). What I love 
EXTD=are studio outtakes. And that's why I love "Perception" so much. 
EXTD=To hear the studio version of "The Celebration of the Lizard" is 
EXTD=really wonderful. I much prefer it to the version on "Absolutely 
EXTD=Live." To hear the development of "Roadhouse Blues" over multiple
EXTD= takes, with Paul Rothchild encouraging the Doors in his hilariou
EXTD=sly dated sounding hippy-speak is wonderful. To hear--during a wo
EXTD=rk up of "Peace Frog"--Jim mildly berate the other Doors for soun
EXTD=ding like "a drunk cripple" walking up "drunken stairs" (and he's
EXTD= right, they're playing is way off!) is a treat. And even though 
EXTD=it's literally snippets of seconds, to finally hear the original 
EXTD=studio version of "Break on Through" with Jim singing "She gets H
EXTD=IGH," before "HIGH" was edited out, is great. Also on "The Doors"
EXTD= album in this set, the mix for "The End" is like the "Apocalypse
EXTD= Now" version, in that Jim's ranting toward the climax is brought
EXTD= forward, so you can hear him say, "eff me, babe." That was mixed
EXTD= down in the original album because of the profanity. The Doors l
EXTD=iked how Coppola remixed the song for "Apocalypse Now," so they o
EXTD=bviously took Coppola's remix as inspiration when remixing "The E
EXTD=nd" in this "Perception" set. The other studio outtakes are great
EXTD=, too (especially of "Touch Me" and "Moonlight Drive," meaning th
EXTD=e "Moonlight Drive" take that was not on the "Box Set," of course
EXTD=). These outtakes are fairly plentiful on "Perception" and that's
EXTD= why I like it. \n\nP.S. Rasmey Lewis fans will love the instrume
EXTD=ntal bonus track titled "Push Push" at the end of the "Soft Parad
EXTD=e" disc, because Ray's piano playing and the song itself are wond
EXTD=erfully derivative of Ramsey Lewis's song "The 'In' Crowd."\n\nHa
EXTD=lf.com Details (Perception Box)\nProducer: Bruce Botnick, Paul Ro
EXTD=thchild \n\nAlbum Notes\nThe Doors: Robby Krieger (guitar); Ray M
EXTD=anzarek (keyboards); John Densmore (drums).\n\nAdditional personn
EXTD=el: Marc Benno (guitar); G. Puglese (harmonica); Jerry Scheff (ba
EXTD=ss instrument); Lonnie Mack, Ray Neopolitan (bass guitar).\nRecor
EXTD=ding information: 1967 - 1971.\n\nTo celebrate the Doors' 40th an
EXTD=niversary, Rhino is releasing this incredible box set with six CD
EXTD=s and six DVDs, including remastered album tracks, bonus tracks (
EXTD=some never released), music videos, archival film footage, and ly
EXTD=rics. This ambitious, sprawling offering drops November 21.\n\nRE
EXTD=VIEWS OF THIS TITLE: (Waiting For The Sun)\n\nAMG EXPERT REVIEW: 
EXTD=The Doors' 1967 albums had raised expectations so high that their
EXTD= third effort was greeted as a major disappointment. With a few e
EXTD=xceptions, the material was much mellower, and while this yielded
EXTD= some fine melodic ballad-rock in "Love Street," "Wintertime Love
EXTD=," "Summer's Almost Gone," and "Yes the River Knows," and there w
EXTD=as no denying that the songwriting was not as impressive as it ha
EXTD=d been on the first two records. On the other hand, there were fi
EXTD=rst-rate tunes such as the spooky "The Unknown Soldier," with ant
EXTD=i-war lyrics as uncompromisingly forceful as anything the band di
EXTD=d, and the compulsively riff-driven "Hello, I Love You," which no
EXTD=netheless bore an uncomfortably close resemblance to the Kinks' "
EXTD=All Day and All of the Night." The flamenco guitar of "Spanish Ca
EXTD=ravan," the all-out weirdness of "Not to Touch the Earth" (which 
EXTD=was a snippet of a legendary abandoned opus, "The Celebration of 
EXTD=the Lizard"), and the menacing closer "Five to One" were also int
EXTD=eresting. In fact, time's been fairly kind to the record, which i
EXTD=s quite enjoyable and diverse, just not as powerful a full-length
EXTD= statement as the group's best albums. -- Richie Unterberger\n\nC
EXTD=D Connection Review:\nAdditional personnel: Leroy Vinegar (acoust
EXTD=ic bass), Douglas Lubahn, Kerry Magness (bass). \n\nThe Doors' th
EXTD=ird album showed the band in transition, even as "Hello, I Love Y
EXTD=ou" became the Doors' second number-1 hit. \n\nThe band's songs s
EXTD=et Morrison's poetic and often bizarre lyrical imagery against th
EXTD=e spiraling keyboards of Manzarek and Krieger's bluesy guitar. Th
EXTD=eir chart success, however, alienated them from their original au
EXTD=dience, who no longer considered them "underground" enough, while
EXTD= their concert audiences increasingly consisted of teenage girls,
EXTD= drawn by Morrison's sexual performing style. "Hello, I Love You"
EXTD= pushed them firmly into the rock mainstream. 
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