Summer's Almost Gone

A 12-bar blues with a balmy seasonal air about the ephemeral nature of life.

"Summer's Almost Gone" is a song originally written by Jim Morrison and credited to Morrison, Ray Manzarek, John Densmore, and Robby Krieger that was released on the Doors' 1968 album Waiting for the Sun. It stands as one of the first songs Morrison ever wrote, having been played for Manzarek during their pivotal meeting at Venice Beach in July 1965. An early version recorded on September 2, 1965, before Krieger joined the group, was released decades later on The Doors: Box Set. The track found its final home on Waiting for the Sun only after the band decided against including the lengthy "Celebration of the Lizard." To fill this gap, they utilized two songs from that 1965 demo session; however, the specific version used on the album was actually recorded in 1967 for Strange Days but left unused at the time.

Quick Facts

Artist: the Doors
Album: Waiting for the Sun
Released: July 3, 1968
Recorded: 1967
Length: 3:20
Label: Elektra
Producer: Paul A. Rothchild

Lore & Background

The song's origins trace back to July 1965 when Morrison played it for Manzarek at Venice Beach, a meeting that directly led to the formation of the Doors. By September 2, 1965, an early iteration was captured on tape at World Pacific Studios in Los Angeles by a lineup missing Krieger. The track's journey to the studio album Waiting for the Sun involved a significant pivot: the band originally planned to feature "Celebration of the Lizard" but scrapped it, creating a void they filled with this 1965 demo recording and "Hello, I Love You." Despite its early conception, the version heard on the 1968 release was recorded in 1967 for the band's second album, Strange Days, before being set aside. This history highlights how the song evolved from a casual beach jam to a crucial piece of their discography, surviving years of re-evaluation and recording sessions to finally appear.

Reader's Guide

Musically, the song follows a strict 12-bar blues structure yet defies typical expectations with its "happily lopsided" arrangement. Rob Hughes described it as having a "balmy seasonal air," while Tony Thompson felt it evoked the poetic idea of summer as youth. The lyrics focus on the "laughing sea" and the transition away from youthful optimism, suggesting the future will not be as bright. In terms of reception, Rich Weidman noted it pairs perfectly with Krieger's "Wintertime Love," its neighbor on Waiting for the Sun. Critics like Max Bell called it "wistful," while Harvey Kubernik described it as "beautifully melancholy." Jim Miller found it "evocative" despite "lame" lyrics, and Richie Unterberger labeled it a "fine melodic ballad rock." Even decades later, in 2002, Manzarek and Krieger revived the song with Ian Astbury on vocals and Stewart Copeland on drums at the California Speedway in Fontana, marking the genesis of The Doors of the 21st Century.