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 General Discussions about Arthur Lee and Love
 Every original LoVE song in capsule: 1966-68
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John9
Old Love

United Kingdom
2113 Posts

Posted - 14/10/2011 :  16:22:11  Show Profile  Reply with Quote

As to the connection between Andmore and Andmoreagain, I remember very vividly Arthur being asked about this very thing in a (UK) magazine interview around 1974. His reply was typically opaque....and mysterious. It was something like:

Music's my life, man....it's what I do.

How we all miss him.
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underture
Fifth Love

479 Posts

Posted - 17/10/2011 :  13:32:59  Show Profile  Reply with Quote
"No. Fourteen"
From: LoVE, deluxe edition
-Running time: 1:42
-Recorded: January 26, 1966 Sunset Sound
-Written by: Arthur Lee
-Lead Vocal: Arthur Lee
-Lead guitar, potato harp: Johnny Echols
-Rhythm guitar: Bryan MacLean
-Bass: Kenny Forssi
-Drums: Alban 'Snoopy' Pfisterer
-This was originally issued as the B-side to the '7 and 7 Is' single in summer 1966.
-Did not make it onto the debut album.
-Original working titles were: "Virginia-Get Me Straight" and "New Song".
-Another debut album song whose genesis came from the band hanging out and jamming.
-Quotable: Johnny states this about early LoVe boosters Vito and co.:

"For a few months, in the summer of 65, Arthur and I lived upstairs at Vito's, with Bryan, and Karl Franzoni. So it was convenient for us to go downstairs to rehearse.

Vito was at the center of everything at the time, and knew all the "players." They would often come to his studio, where he would hold court. He introduced us to Professors Leary and Hoffman. We were all very curious about this new drug they were touting that would expose all the secrets of life. Through one of them, we met a gentleman named Owsley, and he, by way of David Crosby, hooked us up with our first trip. I'm still waiting for all the secrets of life to be revealed!"

-IMHO: This is perhaps the oddest song from the first album. Something almost like a sing-a-long. I think it's strangeness, along with (if you listen closely) Johnny playing the harp in the song, gives it a kind of goofy charm.
-Fun fact: Classic LoVE song that has more questions than answers: Where did the title come from? Who is Virginia? What were the red and blue pills from the doctor? As always, the best songs are the ones with open-ended interpretations, and this one is a prime example.

Lyrics:

Wake up in the morning
Don't know what to do
Wake up in the morning
Feeling kinda blue

Going down to Virginia
Going down there
That way
Going down to Virginia
Virginia gets me straight

Went to bed last night, babe
Couldn't sleep a wink
Went to bed last night, babe
Didn't sleep a wink

Going down to Virginia
Going down there
That way
Going down to Virginia
Virginia gets me straight

Going to see my doctor
To see what he can do
Gimme some of those capsules
Either red or blue

If they don't make it
If they go that way
Going down to Virginia
Virginia gets me straight


You Set The Scene
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lemonade kid
Old Love

USA
9450 Posts

Posted - 18/10/2011 :  00:44:39  Show Profile  Reply with Quote
I don't have this!....where is it...on any compilations?

_____________________________________________
Don't you know there ain't no devil,
There's just god when he's drunk.

-Tom Waits
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markk
Old Love

USA
779 Posts

Posted - 18/10/2011 :  01:25:15  Show Profile  Reply with Quote
I know its on the double CD Love Story
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lemonade kid
Old Love

USA
9450 Posts

Posted - 18/10/2011 :  01:37:09  Show Profile  Reply with Quote
quote:
Originally posted by markk

I know its on the double CD Love Story

Are there any other unreleased or b-side tracks on Love Story?
I have a tendency to dislike compilations....I like to hear the music as it was intended by the artists...track by track. Greatest hits generally are not my cup o' tea, but in this case, I would get anything that Love has out there!

A pet peeve--I also NEVER shuffle...an abominable iTunes feature....I see every album as a concept by the artist(s) [whether it's true or not...after all...the early Beatles were a Capitol records mess, track wise, not a Beatles concept, but I learned to love those records and and have trouble with the early UK versions as intended by the Fabs]. For instance, I think Capitol records Revolver and Rubber Soul are far superior to the UK releases. They seem like more serious works without "What Goes On" or "Dr Robert" etc. and are so lacking without "I've Just Seen A Face"....or "It's Only Love".

_____________________________________________
Don't you know there ain't no devil,
There's just god when he's drunk.

-Tom Waits
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John9
Old Love

United Kingdom
2113 Posts

Posted - 18/10/2011 :  09:31:25  Show Profile  Reply with Quote
LK - Number 14 is also a bonus track on the CD edition (2001 remaster) of the first album. On John Tobler's 1974 Elektra compilation, Love Masters, both the A and B sides of the single are presented as a single track:

Seven And Seven Is Number 14.

I must admit, it has never been a particular favourite of mine...although at one stage it featured regularly in the live repertoire of Maria McKee's Lone Justice.

The only other rare tracks on Love Story are the six songs from Four Sail....on the compilation they are presented in their pre-Elektra mixes.

http://www.amazon.co.uk/Love-Mono-Stereo-Expanded/dp/tracks/B00005O176/ref=dp_tracks_all_1#disc_1

I must admit I've always thought of the UK editions of Help, Rubber Soul and Revolver as complete and essential works in themselves....for example, Drive My Car really is the gateway to Rubber Soul. But of course the experience was different on the other side of the pond and so I would imagine that the Capitol compilations had identities and lives of their own.


Edited by - John9 on 18/10/2011 10:05:48
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rocker
Old Love

USA
3606 Posts

Posted - 18/10/2011 :  15:09:21  Show Profile  Reply with Quote
But of course the experience was different on the other side of the pond and so I would imagine that the Capitol compilations had identities and lives of their own.

You know looking back at the time I never knew there were different compilations for "over there" and here. As far as I was concenred the Capitol issues were the ones I identified with. So when I found out about the Brit versions I was taken aback. But the question I have is does it really make a difference if the songs are different on the albums? Now I'm operating on the idea that in thse initial Beatles albums there really was no concern for an overarching concept say as with Pepper..or was there? Before Pepper I thought singles were the way to go then there was the "filler" songs to be added on the albums. In any case, the first early record that to me had a musical concept was "Beatles VI"..(not in UK!). The songs on that album struck me as being so new, fresh and inventive just as their cover of Buddy Holly's Words of Love.
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John9
Old Love

United Kingdom
2113 Posts

Posted - 19/10/2011 :  00:58:13  Show Profile  Reply with Quote
I think that one of the factors that helped make The Beatles the revolutionary force they were was their pioneering of the LP as a concept rather than just a collection of songs. Their first album Please Please Me, blazed a trail in the UK like nothing else before it. Capitol of course mistook all this for a passing fad that would never catch on. By the time they had changed their minds, they were faced with the near impossible challenge of releasing a large backlog of highly marketable product in a way that wouldn't saturate the American market. But I believe that some of the integrity of the original art was lost in the process.

Just imagine if by the time of the American release of Da Capo in early 1967, Love's first album had not appeared over here. And then Polydor in the UK belatedly realising their error, decide to release a kind of compilation with tracks from the first two albums, passing it all off under the title Introducing Love. By then of course Love are recording Forever Changes...and Polydor manage to get hold of three early mixes from that one and assemble them together with all the unused tracks from the first two albums into.... Love '67. Forever Changes does eventually appear in the UK....but in shortened form. This all may seem to amount to a fantasy, but it is exactly what happened to The Beatles' music in America until 1967....but I suppose that it has all made for a more complex and fascinating history.

Meanwhile, Arthur is thinking of organising a group photograph in which everyone wears butchers' smocks. Indeed that very shot eventually appears on the cover of the UK edition of Four Sail....but only on very early copies. Almost immediately it is thought to be in poor taste and is withdrawn in favour of a more conventional picture. But the track running order remains exactly the same.....it kicks off with Your Mind And We Belong Together!

Edited by - John9 on 19/10/2011 01:45:41
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lemonade kid
Old Love

USA
9450 Posts

Posted - 19/10/2011 :  02:20:23  Show Profile  Reply with Quote
quote:
Originally posted by John9

I think that one of the factors that helped make The Beatles the revolutionary force they were was their pioneering of the LP as a concept rather than just a collection of songs. Their first album Please Please Me, blazed a trail in the UK like nothing else before it. Capitol of course mistook all this for a passing fad that would never catch on. By the time they had changed their minds, they were faced with the near impossible challenge of releasing a large backlog of highly marketable product in a way that wouldn't saturate the American market. But I believe that some of the integrity of the original art was lost in the process.

Just imagine if by the time of the American release of Da Capo in early 1967, Love's first album had not appeared over here. And then Polydor in the UK belatedly realising their error, decide to release a kind of compilation with tracks from the first two albums, passing it all off under the title Introducing Love. By then of course Love are recording Forever Changes...and Polydor manage to get hold of three early mixes from that one and assemble them together with all the unused tracks from the first two albums into.... Love '67. Forever Changes does eventually appear in the UK....but in shortened form. This all may seem to amount to a fantasy, but it is exactly what happened to The Beatles' music in America until 1967....but I suppose that it has all made for a more complex and fascinating history.

Meanwhile, Arthur is thinking of organising a group photograph in which everyone wears butchers' smocks. Indeed that very shot eventually appears on the cover of the UK edition of Four Sail....but only on very early copies. Almost immediately it is thought to be in poor taste and is withdrawn in favour of a more conventional picture. But the track running order remains exactly the same.....it kicks off with Your Mind And We Belong Together!

I agree that Capitol really screwed with the Beatles concept for each album until 1967. Starting with Please Please Me, they got it right, but we never had the privilege of hearing that or subsequent albums as intended by The Beatles.

Your Beatles/Love analogy is not off at all...that is exactly what happened.

And Capitol added insult to injury with those horrible Electronically Rechanneled Stereo horrors! (they weren't alone in that respect...e.g. Epic with the Yardbirds etc)

_____________________________________________
Don't you know there ain't no devil,
There's just god when he's drunk.

-Tom Waits
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rocker
Old Love

USA
3606 Posts

Posted - 19/10/2011 :  14:36:42  Show Profile  Reply with Quote
Your Beatles/Love analogy is not off at all...that is exactly what happened.

That was an interesting look. But I'd like to say something. The analogy chnages a bit when we look at the aftermath of those initial "musical products" (that's how the backroom looked at it!) from both bands. The thing with Love was that if you looked at their first 3 records you could see that great musical progression from first (true) start to masterpiece. I really regret what we possibly could have had from them..if only, if only certain stars were aligned in their music making. There was alot of potential lost. I'll always appreciate FC but I think there could have been more on that kind of musical level. The talent was there. I don't know. Maybe they needed those "under assistant west coast promotion men.......;-)...Making great art is nice but you've got to get the message out.
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Joe Morris
Old Love

3400 Posts

Posted - 19/10/2011 :  20:02:00  Show Profile  Reply with Quote
miracle they got Forever Changes out of them, considering, what with the terrible way the band was in - all the drugs
and the fact that they were so out of practice there was some consideration of the album being cut by studio musicians

Still think Arthur would've played some on the album, guitar or something, though apparently it was on organ that he composed
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underture
Fifth Love

479 Posts

Posted - 20/10/2011 :  13:25:09  Show Profile  Reply with Quote
"Stephanie Knows Who"
From: Da Capo, side one, song one
-Running time: 2:33
-Recorded: October 2, 1966 RCA Studio B, Hollywood
-Written by: Arthur Lee
-Lead vocal: Arthur Lee
-Lead guitar: Johnny Echols
-Rhythm guitar: Bryan MacLean
-Bass: Kenny Forssi
-Drums: Michael Stuart
-Saxophone: Tjay Cantrelli
-Harpsichord: Alban 'Snoopy' Pfisterer
-The first song on the band's second album and right away it is obvious that this is a brave, new LoVE. The sound is radically different from the debut album, with emphasis now on a jazzier free-form feel. It was arguably the most stark sonic change ever made by the band.
-New line-up changes: Snoopy has moved from drums to keyboards, and new recruits Tjay Cantrelli (old acquaintance of Johhny and Arthur) on sax/flute and ex Sons of Adam member Michael Stuart on drums now complete a seven member group.
-The subject of the song was Stephanie Buffington, who Arthur and Bryan were both vying for at the time the album was recorded.
-Quotable: Michael believes that one of the seeds of the groups eventual dissolution had to do with the rivalry between Arthur and Bryan for Stephanie:

"We're onstage at the Whisky, debuting Da Capo. We're playing the first cut on the "A" side, "Stephanie Knows Who". Stephanie is standing at the edge of the stage looking up with loving eyes... at Bryan. That is all, because Arthur loved Stephanie, and in the end it was a crushing defeat by a subordinate, and one he could neither forget nor forgive."

-IMHO: If you wanted to convert someone into a LoVE fan, I believe out of all their recorded output Da Capo is the one specific recording to start with.
-Fun fact: Another name in Arthur's pantheon of females named in a song he wrote. I am counting four. They are: Pretty, Virginia, Stephanie, and Plastic Nancy.

Lyrics:

What's in your life, dear Stephanie
What's in your life for me
Aches and pains they cloud your sight
But tired you did you said you did

What can I say, dear Stephanie
Who shall I next inform
Of love and poetry that you bring
Your eyes, your hair, your everything

What am I now, dear Stephanie
Am I you in disguise
The words they come so naturally
I save them all for Stephanie

Hey, all right
Talk to me all the time
From A to B and in between
Say it sweet all the time
All the time, yeah ...


You Set The Scene

Edited by - underture on 20/10/2011 18:16:22
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rocker
Old Love

USA
3606 Posts

Posted - 20/10/2011 :  14:40:18  Show Profile  Reply with Quote
The sound is radically different from the debut album, with emphasis now on a jazzier free-form feel. It was arguably the most stark sonic change ever made by the band.

That's so true. Add to that the harpsichord and we got kind of classical style merged in there too. The song works.
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Joe Morris
Old Love

3400 Posts

Posted - 20/10/2011 :  14:55:38  Show Profile  Reply with Quote
shame about "Revelation" of course - thats liable to scare most newbies away!

Probably the worst thing the original band ever cut ("And more" may be a little bland, but its only 2 minutes and doesn't overstay its welcome!)
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lemonade kid
Old Love

USA
9450 Posts

Posted - 20/10/2011 :  18:35:49  Show Profile  Reply with Quote
quote:
Originally posted by Joe Morris

shame about "Revelation" of course - thats liable to scare most newbies away!



Or it may turn many on who have no expectations and are open to a long bluesy romp.

_____________________________________________
Don't you know there ain't no devil,
There's just god when he's drunk.

-Tom Waits
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