Let's swim to the moon.
Let's climb through the tide,

Penetrate the evening that the
City sleeps to hide.

Let's swim out tonight, love.
It's our turn to try
Parked beside the ocean
On our moonlight drive.


Surrender to the waiting worlds
That lap against our side.

     Nothing left open
     And no time to decide,
     We've stepped into a river
     On our moonlight drive.



You reach your hand to hold me
But I can't be your guide.

     Easy, I love you
     As I watch you glide,
     Falling through wet forests
     On our moonlight drive (2x)

          Spoken: Come on, baby, gonna take a little ride
          Down, down by the ocean side.
          Gonna get real close
          Get real tight.
          Baby gonna drown tonight!
          Goin' down, down, down…

Moonlight Drive would suggest at first that Jim Morrison is inviting someone to make out in a car while looking out over a body of water. (The actual lyric mentions both a river and an ocean.) Such was a favorite teenage diversion when they didn’t have their own place and couldn’t afford a room. But immediately, the lyric goes to another level, which obliquely continues to describe a sexual act—the song is not an invitation to drive, as the title suggests, but rather an invitation to swim. The event is hidden by the night, and is private between two people who are open to feeling the pulls of their attraction as if the natural pull of the moon upon the tide.

There is also an underwater element to this song which may be a metaphor for the LSD experience, making it akin to Are You Experienced? by the Jimi Hendrix Experience, where the listener is invited to watch the sunrise from the bottom of the sea. In the Hendrix song, the singer offers his hand to guide the listener as a guide; it’s interesting that Morrison refuses that role. He can’t be a guide to the LSD experience or the sexual one, and whereas Hendrix suggests that it is possible (as in the Experience's 1983) to live and breathe underwater if one only believes, Morrison welcomes the chance to drown, to annihilate himself in intimacy.

Also like Hendrix in Third Stone from the Sun, Morrison seems comfortable with having spoken parts to his songs. Moonlight Drive offers his dramatic voice as the conclusion of a performance that has been boosted by the music into a more urgent key. Krieger uses bottleneck guitar to again imitate animal cries as he does in several places on the Strange Days album. In the case of Moonlight Drive, Krieger’s guitar in the break suggests the sound of animals drowning as in the preceding Strange Days cut, a short spoken word piece called Horse Latitudes.