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 Every original LoVE song in capsule: 1966-68
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Joe Morris
Old Love

3400 Posts

Posted - 21/10/2011 :  00:50:08  Show Profile  Reply with Quote
uh no, they'll be reaching for the fast forward!!

"How long is this?"
"18 minutes."
"ARRGH!!"
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underture
Fifth Love

479 Posts

Posted - 24/10/2011 :  13:40:25  Show Profile  Reply with Quote
"Orange Skies"
From: Da Capo, side one, song two
-Running time: 2:49
-Recorded: September 27, 1966 RCA Studio B, Hollywood
-Written by: Bryan MacLean
-Lead vocal: Arthur Lee
-Lead guitar: Johnny Echols
-Rhythm guitar: Bryan MacLean
-Bass: Kenny Forssi
-Drums: Michael Stuart
-Flute: Tjay Cantrelli
-Was the B side to two singles: the 'Stephanie Knows Who' single which was withdrawn and 'She Comes In Colors' EK 45608 which was issued in December 1967 well over a year after both were recorded.
-Only song written by Bryan to be included on Da Capo. Also only Bryan penned song where he contributed no vocals.
-Was the first song he ever wrote, at the age of 17. He was a roadie for the Byrds and based this song off of their 'The Bells of Rhymney'.
-Quotable: Johnny states this about 'Orange Skies':

"Bryan's version of "Orange Skies" was quite different than the one you hear on "Da Capo." His, was very much a show tune, sans flute....with no jazz flavor, and no Gary Mcfarland scatting at the end. I'm making no judgments, as to which version was better....only that they were most assuredly different!"

-IMHO: The different backgrounds and all the divergent tastes of LoVE seem to mesh best on this song than on any other in the band's catalogue. It is to their credit that they were able to make this masterpiece from it's humble beginnings.
-Fun fact: Originally this song was slated to be sung by Johnny because of his ability to mimic the vocal styles of Johhny Mathis. Unfortunately because of the key that the song needed to be in it was concluded that ultimately it fit best for Arthur's abilities and Johnny never was able to be lead vocalist on any of LoVE's recordings.

-Lyrics:

Orange skies
Carnivals and cotton candy and you
and I love you too you know I do

Nightingale
Prettier than anything in the world
And I love you too
You know I do

You make me happy
Laughing, glad, and full of glee
And you don't have to try, girl
For you it comes so naturally
Right here in my arms


You Set The Scene
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rocker
Old Love

USA
3606 Posts

Posted - 25/10/2011 :  14:59:10  Show Profile  Reply with Quote
Made 7 years after the end of the 50's. I always thought this was how those dreamy romantic ballads of that era got translated to the 60's. Nothing wrong with that cotton candy..
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Joe Morris
Old Love

3400 Posts

Posted - 25/10/2011 :  15:38:42  Show Profile  Reply with Quote
Johnny DID sing on "Revelation"

Not that anyone ever listens to that wretched track; one wishes for a stylus size scratch across side 2 of the vinyl
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John9
Old Love

United Kingdom
2113 Posts

Posted - 25/10/2011 :  17:10:47  Show Profile  Reply with Quote
To my mind Orange Skies is one of Love's classic Broadway songs. It's in good company alongside Nice To Be and, of course, I'm With You, which as Rocker has previously mentioned, includes a charming reference to Broadway in the lyrics. The first live version of Orange Skies, on The Blue Thumb Recordings, I think is also exceptional.

And in Manhattan, I'll be walkin' down Broadway with you

On reflection, this quality in Love's music is one of several things that they shared with The Doors. Jim Morrison's resonant voice was perfect for powerful ballads like Touch Me and Wintertime Love.

Edited by - John9 on 25/10/2011 17:23:27
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underture
Fifth Love

479 Posts

Posted - 27/10/2011 :  13:31:03  Show Profile  Reply with Quote
"Que Vida"
From: Da Capo, side one, song three
-Running time: 3:37
-Recorded: September 28, 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
-Flute: Tjay Cantrelli
-Organ: Alban 'Snoopy' Pfisterer
-Translation of song's title to english means "What A Life". Was originally titled "With Pictures and Words".
-The band made use of Elektra's extensive collection of sound effects catalogue to insert the popping champagne cork and sleigh bells into the song.
-An edited version was the A side of single EK 45613, issued in 1967. B side was 'Hey Joe'.
-Quotable: Michael on the musical chemistry developed during his time in the band:

"The chemistry I developed with Bryan and Johnny and Kenny and Arthur probably wasn't as profound as it would have been if, either, 1.) I had been been with the group from the beginning, or, 2.) we had played more often after I joined. I would say, as a rough estimate, 80% of the live gigs I played with Love were in the first 6 months after I joined. So, that's not very good.

It's really hard to develop a musical chemistry if you don't play, or ... "generally speaking, the more often musicians play together (especially live onstage in front of an audience) the better the opportunity for a musical chemistry to develop between them." That's Michael's Law of Musical Chemistry."

-IMHO: No great controversy here but between Snoopy and Michael the best drummer was Michael by a large margin. The later incarnations of LoVE had good drummers as well, but again I would list Michael as the best percussionist in the long history of the group.
-Fun fact: Michael describes how the back cover photo of Da Capo was received by some of the band:

"I believe those back cover shots were taken in the office upstairs at The Whisky by Guy Webster. He was standing up on a 6 foot ladder shooting down and placing us in different poses. Later, when we saw the final product, Snoopy said he thought his picture made him look like a penguin... and Bryan said he thought he looked like a little kid playing in a sandbox. Bryan says, "I look like a real badass there, don't I?"

-Lyrics:

With pictures and words
Is this communicating? The sounds that I've heard
The growling voice then fading
And yes my heart was beating
Or was it just repeating

With nickels and dimes
You soon will have a dollar
Am I in your time
I see no need to swallow
Or catch a plane to travel
My mind's not made of gravel

Can you find your way
Or do you want my vision
It's dark there, they say
But that's just superstition
And in my last inspection
Is this the right direction

I once had a girl
She told me I was funny
She said in your world
You needed lots of money
And things to kill your brother
But death just starts another


You Set The Scene
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John9
Old Love

United Kingdom
2113 Posts

Posted - 28/10/2011 :  20:39:12  Show Profile  Reply with Quote
Que Vida has something in common with Nothing in this respect. In both songs there is a pause at the end of each verse where the listener expects the song title to feature. And of course there is a slight variation on this theme with Between Clark And Hilldale...where the word left out at the end of one verse becomes the first word of the next. It is interesting to note though that in live versions of Nothing, Arthur does sing the title word at the end of each verse.

Edited by - John9 on 29/10/2011 23:05:35
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underture
Fifth Love

479 Posts

Posted - 31/10/2011 :  12:36:29  Show Profile  Reply with Quote
"7 and 7 Is"
From: Da Capo, side one, song four
-Running time: 2:15
Recorded: June 17 and 20, 1966 Sunset Sound
Written by: Arthur Lee
Lead vocal: Arthur Lee
Lead guitar: Johnny Echols
Rhythm guitar: Bryan MacLean
Bass: Kenny Forssi
Drums: Alban 'Snoopy' Pfisterer
-Released as single EK 45605 along with 'No. Fourteen' in the summer of 1966. It was the groups highest charting single ever, reaching # 33. Unfortunately Elektra's limited resources and national image may have helped stunt is chart potential, among other reasons.
-Last song to have Snoopy on the drum kit, and also the last to have Jac Holzman produce for the group.
-It took 40 plus takes to get this song recorded as the sound the group was trying to get didn't seem to register with what Holzman and Bruce Botnick expected.
-Alot of the song's lyrics are childhood references, with Arthur's own unique slant painting the picture.
-Was originally a slow tempo folk song before Kenny and Johnny turned up the volume and speed level to create the "controlled chaos" that everybody knows.
-The title refers to March 7, which was Arthur and one time girlfriend Anita Billings birthdays.
-The bluesy coda after the atomic explosion was part of an old song Johnny had written years earlier. Arthur promised him co-songwriting credit but did not follow through with this promise.
-Quotable: Johnny on how the songs from Da Capo were not performed live before recording the album:

"With the exception of Revelation, none of the songs were played live before we recorded them. Things were evolving so fast, that most of them were not completely written, or finalized until we were in the studio. Rothschild was not too happy with what [seemed] to be a group that was unprepared. The reality was, that's just how we worked, there were always last minute changes, depending on how things sounded, when played back over the monitors. Both he, and Jac were really bothered by the abrupt change in musical direction. They had expected to release an album more like the first one."

-IMHO: If you listen to this song and can't get excited you might want to check for a pulse.
-Fun fact: Due to the enormous number of takes required to get this song properly recorded, Arthur and Snoopy switched off on the drums during various takes. By around the twentieth take Snoopy had gotten the drumming part down and his final recorded drumming for the band was his best. He ended up with blisters on his fingers for his efforts. Wonder if Ringo Starr ever talked to Snoopy before recording 'Helter Skelter'?

-Lyrics:

When I was a boy I thought about the times I'd be a man
I'd sit inside a bottle and pretend that I was in a can
In my lonely room I'd sit my mind in an ice cream cone
You can throw me if you wanna 'cause I'm a bone and I go
Boo-bip-bip, boo-bip-bip yeah!

If I don't start cryin' it's because that I have got no eyes
My father's in the fireplace and my dog lies hypnotized
Through a crack of light I was unable to find my way
Trapped inside a night but I'm a day and I go
Boo-bip-bip, boo-bip-bip, yeah!

One... Two... Three... Four!


You Set The Scene
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lemonade kid
Old Love

USA
9450 Posts

Posted - 31/10/2011 :  19:25:19  Show Profile  Reply with Quote
I had a friend whose 60's band covered 7 & 7 Is. I wouldn't have had the nerve to try it in my band...pretty intense and you need to be ON to get this right live! Well, we had the nerve to play Cowgirl In The Sand at frat houses that wanted Louie Louie non stop. You should have seen them struggle to dance to that for 20 minutes!!

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

-Tom Waits
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Joe Morris
Old Love

3400 Posts

Posted - 31/10/2011 :  21:14:03  Show Profile  Reply with Quote
Don't be denied!
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underture
Fifth Love

479 Posts

Posted - 03/11/2011 :  12:37:59  Show Profile  Reply with Quote
"The Castle"
From: Da Capo, side one, song five
-Running time: 3:00
-Recorded: September 30, 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: Micahel Stuart
-Harpsichord: Alban 'Snoopy' Pfisterer
-The title is a reference to the band's legendary communal residence "The Castle", which wasn't an actual castle but a dilapidated mansion in the Los Feliz section of LA during the bands occupancy in 1966.
-Actual address of The Castle is 4320 Cedarhurst Circle.
-The first and second album covers were not shot at the Castle.
-Some of the lyrics are a reference to Stephanie Buffington, who was also the subject of the song "Stephanie Knows Who".
-Quotable: Michael on the recording of Da Capo:

"Several thoughts stand out. One thing is, it seemed at the time, as though Paul Rothchild was a "hands off" kind of a producer... almost a producer in name only. I don't remember him coming out from the booth to make a suggestion or making any comments via the mic from the booth to any members of the group, at all, not one time.
But, as on Forever Changes, Arthur had very little instrumental responsibility, so, during the laying down of the instrumental tracks, he spent most of the time in the booth, behind the glass with Paul and Dave Hassinger (and on "Revelation," Bruce Botnick), therefore it could be that Paul was making some important suggestions back there where we couldn't hear.
Every cut went off fairly well... more or less like clockwork, to my recollection, without astronomical numbers of takes on any one song."

-IMHO: This song to me is the hidden gem of Da Capo. Not the most revered or celebrated song in the band's catalogue, it is somehow a "connector" between the debut album and Forever Changes, encompassing that folk/mysterious/eclectic sound in a unique blend. The multiple false endings also give it a standout quality.
-Fun fact: Johnny relates one story from his time living at the Castle:

"The future mother of my daughter, and my now ex wife made the biggest impression on me obviously. Otherwise the encounter that stands out the most, was when I came home really tired, and badly in need of sleep, and found Grace Slick, in my bed. She was spending a few days at the Castle with the rest of the Airplane. And I walked into my room, and found her splayed out on my bed, sleeping like a baby. I assume she had gone to the wrong room. Ever the diplomat I informed her " you gotta split man!" Grace glared at me, jumped up and stormed out, leaving her clothes in my chair. I guess back in the day, she wasn't accustomed to being ordered out of a dudes bed. Though we had a good laugh about it later, that night she was not a happy Diva. "

-Lyrics:

Here's my baggage, hand me my staff
I'm leaving on a plane, a boat or raft

A my love, B I love, so hard to choose
If that were in my mind, it I would use

Goin' back to Mother
Leaving on the double
Think I'll go to Mexico


You Set The Scene
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underture
Fifth Love

479 Posts

Posted - 07/11/2011 :  13:44:43  Show Profile  Reply with Quote
"She Comes In Colors"
From: Da Capo, side one, song six
-Running time: 2:43
-Recorded: September 29, 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
-Flute: Tjay Cantrelli
-Keyboards: Alban 'Snoopy' Pfisterer
-Was released in an edited version as Elektra single EK 45608 with 'Orange Skies'.
-Quotable: Did the Rolling Stones, who saw the band on multiple occasions at the Whisky, cop the idea for their song "She's A Rainbow" from 'Colors'? Michael has this to say:

"Arthur never complained at the time (in my presence) about having been ripped off by The Stones, but obviously, their hit "She's A Rainbow" is a direct steal from "She Comes In Colors.". I mean, "she comes in colors" is not your everyday expression, and apparently I guess Mick thought since Love was just "an underground group with a cult following" not enough people would notice to make a difference, so therefore he could probably get away with it. Which he did."

-IMHO: I do believe that the Stones did take the idea for 'Rainbow' from this song, as well as 'Going Home' from 'Revelation'. Their attendance at the the Whisky is too obvious to ignore. Further proof can be found in the Stones album 'Satanic Majesties Request'. The music and even the cover is a rip off from Sgt. Peppers. The Glimmer Twins had yet to come into their own as truly unique artists.
-Fun fact: Time for the name game. Arthur Taylor Lee was originally Arthur Porter Taylor. Tjay Cantrelli's true name was John Barbieri. And Michael Stuart now goes by Michael Stuart-Ware.

Lyrics:

A thought in my head, I think
Of something to do
Expressions tell everything
I see one on you

Whoa, whoa whoa, my love she comes in colors
You can tell her from the clothes she wears

When I was invisible
I needed no light
You saw right through me, you said
Was I out of sight?

When I was in England town
The rain fell right down
I looked for you everywhere
'Til I'm not around


You Set The Scene
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Joe Morris
Old Love

3400 Posts

Posted - 07/11/2011 :  15:52:56  Show Profile  Reply with Quote
Originally called "By the clothes she wears" wasn't it?

At least according to the tape boxes in the studio!

The Stones were probably enacting revenge for Loves lifting the lyrics for "Can't explain" from "What a shame" !
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underture
Fifth Love

479 Posts

Posted - 10/11/2011 :  13:48:13  Show Profile  Reply with Quote
"Revelation"
From: Da Capo, side two, song one
-Running time: 18:57
-Recorded: Late September/early October 1966 Sunset Sound
-Written by: Lee/MacLean/Echols/Forssi
-Lead vocal, harmonica: Arthur Lee
-Lead guitar: Johnny Echols
-Rhythm guitar: Bryan MacLean
-Bass: Kenny Forssi
-Drums: Michael Stuart
-Saxophone: Tjay Cantrelli
-Harpsichord: Alban 'Snoopy' Pfisterer
-One of the first instances a rock group recorded a one song side ever.
-Longest song in the history of the band.
-Original name of the song was 'John Lee Hooker'.
-An extended blues/rock/jazz jam, played live this song could stretch to as long as an hour. Some times in the midst of the song the band would do a cover of 'Gloria'.
-Was the last time that Tjay and Snoopy would record as LoVE on their respective instruments.
-Title came from Annette Ferrel, a fan who attend LoVE shows in flamboyant, gypsy clothing.
-Quotable: Johnny sets the scene for how Revelation was recorded:

"We were aware that "Snoopy" was a classically trained pianist, so we decided to push the envelope a bit, and see where it led. After adding Tjay to the mix, we pushed it a little more. The group was intrigued by the prospect of "fusing" Jazz, Classical, and R&B with Rock&Roll. Revelation was to be [the] culmination of that concept. And was meant to be recorded "live" in studio.

We had intended to include some of the dancers from BIDO LITO'S, in order to recreate a club atmosphere, but the musicians union would not allow us to do that. The problems started with Paul Rothschild, who was busy with the Doors, so he couldn't make the session. Being that he had never heard "Revelation," before attempting to mix the hour long track, down to an eighteen minute cut. He had absolutely no clue as to what we were trying to accomplish. So he wound up splicing the song in the wrong places, leaving the best parts on the cutting room floor. The solo's that needed to build in a natural order, were chopped up, with no rhyme or reason.

If we had worked out a shorter version in advance, we could have forestalled many, if not all of the problems arising from such a long track. Putting all the drama aside, I still think it's a fine song, and a cutting edge piece of music. It's just too bad we were unable to get the "real deal" on tape."

-IMHO: Probably the most controversial song in the history of the band, it seems to have a polarizing effect on all who listen to it: either you love it or hate it. I love it, if nothing else it showcases the musical abilities of the band along with the sheer ambitiousness of trying to capture this song in the studio. Highlights are the ferocity of Arthur's harmonica solo and Tjay's solo section in combo with the support of Michael's drumming.
-Fun fact: Chalk up another LoVE missing song scenario. Beside the pre-Elektra lost tapes, the non-existant but infamous nonetheless Gethsemane album, what would side two of Da Capo been like if Revelation was shelved? No one will know, but Revelation is so much a part of Da Capo's legend that if it hadn't been attempted there would be much more theorizing about it than about what alternate side two songs would be without Revelation.

-Lyrics:

Hey you
Child, standin' over there
Girl, you look so good
Yeah, you look all right
Hey girl
Hear me callin' your name
Baby, the way uou walk
Say you drive me insane
Oh you're lookin' so good
When you're in my bed
Baby, I feel so good
Till you give me a little head
On your knees, on your knees
So good, all right, do it, yeah
Say it's sweet, say it's sweet
All right, yeah yeah
Get it on, do it, baby
Do it baby
Tell me baby, do you want my lovin'
All right, baby
So good, you're so good
Oh hear me talkin' to you, mama
So good, get it on
Get it on, baby
Yeah, yeah, yeah, yeah
You're so good, so good
So good, so good
So good, so good, so good
Yeah, yeah, yeah, all right
Yeah, yeah, yeah, yeah,yeah, yeah
All right, do it, baby
On your knees, oh yeah
Everybody, everybody
Everybody, yeah yeah
I said they need somebody
To love, to love, to love
To love, to love, to love
To love, to love, to love
Love, love, love, love
Love, love, love, love
All the time, all the time
All the time, yeah
All the time
All the time I feel all right
All the time I feel so good
All the time I feel all right
So good, I feel allright
Yes it is, yes it is
Yes it is, mama, yes it is, mama
Yes it is, mama, feel all right
Feel all right, feel all right
I wanna scream
I feel, I feel, I feel good
I feel so good
Feel all righ, feel all right
I feel so good
I feel so good, yeah
Everybody, everybody feel good
Everybody feel good
Yeah, yeah
Feel so -
Can you, can you feel it, mama
Can you feel it, mama
can you feel it, mama
Do you feel like I do
Do feel all right
Do you feel all right, yeah
I feel all right
I feel all right
I feel all right
I feel all right, yeah
Yeah, yeah


You Set The Scene
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Joe Morris
Old Love

3400 Posts

Posted - 10/11/2011 :  23:24:36  Show Profile  Reply with Quote
I understand Echols sang on it
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