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 Every original LoVE song in capsule: 1966-68
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underture
Fifth Love

479 Posts

Posted - 14/11/2011 :  13:34:54  Show Profile  Reply with Quote
"Alone Again Or"
From: Forever Changes, side one, song one
-Running time: 3:15
-Recorded: September 10, 1967 Sunset Sound
-Written by: Bryan MacLean
-Vocal: Arthur Lee
-Lead guitar: Johnny Echols
-Rhythm guitar, vocal: Bryan MacLean
-Bass: Kenny Forssi
-Drums: Michael Stuart
-Original title was 'Along Again'. Arthur suggested adding 'Or' to the end when Bryan was suggesting potential titles for the song, using or to separate each suggestion. Arthur with his unique vision determined that adding the 'Or' to the end might sound good.
-Now pared down to five members, LoVE again grew in leaps and bounds with this album, an orchestral setting to Arthur's dark visions. This song in particular has often been heralded by Jac Holzman as the doorway into Forever Changes, setting up and making possible the rest of the album's disturbing view.
-Was issued as Elektra single twice, first as EK 45629 in 1968 with 'A House Is Not A Motel' and again in 1970 as EK 45700 with Good Times. It was a local hit but not so nationally.
-The fact that one of Bryan's songs was choosen as a single over his raised Arthur's ire and drove another wedge into the band's breakup. This was a view espoused by some of the band but was not universally held by all.
-Was used as a jingle in a Miller Beer commercial.
-Originally Bryan was slated to be lead vocalist on this song. In post production work Arthur's harmony vocal was mixed over Bryans resulting in the unique sound.
-Quotable: Bryan's original version of the song was much different than the recorded version. Johnny relates:

"We had the rather "expensive" habit of finishing the prep work on songs in the studio, rather than at our homes. So sometimes we had no real idea what the song would eventually morph into, until we were all together laying down tracks.

Alone Again, is a prime example. When Bryan first played it for me, it was more of a bluegrass tune, with a catchy instrumental hook.
In reality, it almost didn't make the cut. It just didn't seem to have that indefinable "something". It had a great "hook" but that was it. I was noodling over in the corner, When David Angel walks by and said "do that Spanish riff again". Then he brought Bryan over, and after much cajoling, convinced him we should try the song with a more Spanish feel. A very reluctant Bryan agreed, and [we,] with a whole lot of input from David, came up with the song you hear on record. Without Mr. Angel it would be a very, very different song."

-IMHO: I'm a "less is more" person and the lyrics to this song support this thesis. Though not complex, with no literature pretentions and short (only 11 lines long), this was Bryan's best offering for the group, an absolutely powerful personal statement. If Bryan's goal was to write timeless lyrics he hit a grand slam on this song.
-Fun fact: You have to listen hard at the beginning of the song due to the fact that Bryan would often play with steel finger picks. On this occasion it was determined that the beginnig was so soft and subtle that a low volume was needed so Bryan's noisy guitar wouldn't spoil the mood.

-Lyrics:

Yeah, said it's all right
I won't forget
All the times I've waited patiently for you
And you'll do just what you choose to do
And I will be alone again tonight my dear

Yeah, I heard a funny thing
Somebody said to me
You know that I could be in love with almost everyone
I think that people are
The greatest fun
And I will be alone again tonight my dear


You Set The Scene
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underture
Fifth Love

479 Posts

Posted - 17/11/2011 :  13:29:51  Show Profile  Reply with Quote
"A House Is Not A Motel"
From: Forever Changes, side one, song two
Running time: 3:25
-Recorded: August 11 and September 10 1967, Sunset Sound
-Written by: Arthur Lee
-Lead vocal: Arthur Lee
-Lead guitar: Johnny Echols
-Rhythm guitar: Bryan MacLean
-Bass: Kenny Forssi
-Drums: Michael Stuart
-Some of the lyrics originated in a chance meeting between Arthur, Johnny and a Vietnam vet in San Francisco at a gig with Janis Joplin. The vet explained how when blood seeps into the mud it will turn gray. It was a frightening experience as the inebriated soldier offered to show them this with his service revolver. Fortunately cooler heads prevailed.
-The guitar run at the end is Johnny soloing against himself. It was double tracked, but on the second solo Johnny had to play from memory as the headphones he was using did not function properly.
-Quotable: Michael relates some of the mood during the practice sessions for Forever Changes:

"The rehearsals for Forever Changes all took place at Arthur's new (Trip) house in the canyon... again, up to the top of Kirkwood, sharp left at Elmer Valentine's pad... then crank it around and up a small single-lane blacktop and dirt road that I haven't yet been able to find on the map, because you need like a microscope. The rehearsals started around one, as usual, but this time there was no playing of records or showing tricks by pigeons and very little joking around, just a little getting high and then right to the business of learning the tunes."

-IMHO: The guitar dual at the end is one of the most effective uses of a guitar to artistically effect war. For that era, I think it is just as good as Hendrix's "Star Spangled Banner", and it came two years prior to it.
-Fun fact: The title emerged from the bands residency at the Castle. Whenever some overly rowdy guests were making too much noise Arthur would sometimes call out "This is a house, not a f****g motel".

-Lyrics:

At my house I've got no shackles
You can come and look if you want to
In the halls you'll see the mantles
Where the light shines dim all around you
And the streets are paved with gold and if
Someone asks you, you can call my name

You are just a thought that someone
Somewhere somehow feels you should be here
And it's so for real to touch
To smell, to feel, to know that you are here
And the streets are paved with gold and if
Someone asks you, you can call my name
You can call my name
I hear you calling my name yeah all right now

By the time that I'm through singing
The bells from the schools of wars will be ringing
More confusions, blood transfusions
The news today will be the movies for tomorrow
And the water's turned to blood, and if
You don't think so
Go turn on your tub
And it it's mixed with mud
You'll see it turn to gray
And you can call my name
I hear you calling my name


You Set The Scene
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Joe Morris
Old Love

3400 Posts

Posted - 19/11/2011 :  00:10:46  Show Profile  Reply with Quote
sudden ending to the track on Love Elektra Masters btw
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underture
Fifth Love

479 Posts

Posted - 20/11/2011 :  23:50:52  Show Profile  Reply with Quote
"Andmoreagain"
From: Forever Changes, side one, song three
-Running time: 3:15
-Recorded: June 9 and 12, August 11 1967 Sunset Sound
-Written by: Arthur Lee
-Lead vocal: Arthur Lee
-Lead guitar: Billy Strange, Johnny Echols
-Bass: Carole Kaye, Kenny Forssi
-Drums: Hal Blaine
-One of two songs on Forever Changes involving the Wrecking Crew controversy. In short, at the beginning of the album sessions the band was vastly underrehearsed and unable to produce a usuable track. After some discussion between Arthur and Bruce Botnick, a plan was hatched to bring in top LA session players (aka the Wrecking Crew) to record the instrumentals, while the vocals and some overdubs would be the band's contribution. This idea produced two album cuts before the whole band went back and got down to serious rehersal and finished the album themselves.
-Bruce Botnick claims the band was physically broken up by the Wrecking Crew being brought in, but both Johnny and Michael flatly and emphatically deny this.
-IMHO: The two Wrecking Crew cuts are excellent, but I really would have prefered that they used the band's versions instead of the Wrecking Crew. The electrified version of 'Andmoreagain' that survives via the deluxe disc is testamony to how good the band was.
-Quotable: Johnny gives some inside info on what went down with the Wrecking Crew controversy:

"Several members of the Wrecking Crew, played on Daily Planet, along with Kenny and I. A rhythm guitarist, joined Love on one other track. ( I'd have to listen to the cd, to remember which one, since the song titles were different at the time.) Don Randi also played piano on "Bummer in the Summer." Forssi and I were on all of the tracks. My favorite songs to play, were "A House IS Not A Motel," and "Your Mind and WE." If I had to choose one in particular, it would be "House" because Michael establishes a really "smoking" groove. The song sticks in my mind, because I played the second guitar solo, without being able to hear the first one. Yet it sounds as though the two guitars were playing off each other. It still amazes me to this day, how that young boy was able to pull that off. That's called playing outside one's self".

-Fun fact: The song titles on Forever Changes are the most potent and psychedelic of the bands career and more evidence to Arthur's imagination. Clear your mind and look at them and evelope the strangeness they exibit.

-Lyrics:

And if you'll see Andmoreagain
Then you will know Andmoreagain
For you can see you in her eyes
Then you feel your heart beating
Rum-pum-pum-pum

And when you've given all you had
And everything still turns out
Bad, and all your secrets are your own
When you feel your heart beating
Rum-pum-pum-pum

And I'm
Wrapped in my armor
But my things are material
And I'm
Lost in confusions
'Cause my things are material
And you don't know how much
I love you
Oh, oh, oh...

And if you'll see Andmoreagain
Then you might be Andmoreagain
For you just wish and you are here
Then you feel your heart beating
Rum-pum-pum-pum


You Set The Scene
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underture
Fifth Love

479 Posts

Posted - 24/11/2011 :  04:52:12  Show Profile  Reply with Quote
"The Daily Planet"
From: Forever Changes, side one, song four
-Running time: 3:25
-Recorded: June 9 and 10, September 25 1967 Sunset Sound
-Written by: Arthur Lee
-Lead vocal: Arthur Lee
-Backup vocals: Johnny Echols, Bryan MacLean, Kenny Forssi, Michael Stuart
-Lead guitar: Johnny Echols, Billy Strange
-Rhythm guitar: Carol Kaye
-Bass: Kenny Forssi
-Drums: Jim Gordon
-The song title refers to the fictional newspaper in Superman.
-Second of the two "Wrecking Crew" songs on Forever Changes.
-Originally Carol Kaye was slotted to play bass on this song. She struggled with the complexity of it and was replaced by Kenny whose fluid playing worked out perfectly.
-Controversy exists in regards to who actually played drums on this cut. Official records and Johnny say that Hal Blaine was the drummer. Michael swears that Hal Blaine wasn't even in the studio that day and that Jim Gordon was the true drummer. I choose to go with Michael's memory mainly because out of human nature one would probably pay closer attention to someone playing your specific instrument.
-Gordon himself would later achieve greater fame in his involvement with Delaney and Bonnie and Derrick and the Dominoes. Unfortunately he ran into tragic circumstances in the 80's and has been incarcerated since 1983.
-Out of the background vocals, I can hear: face, heart, hands. Not sure what else might have been spoken. Anyone?
-Reportedly arranged by Neil Young, who was originally slated to produce the album with Bruce Botnick. He dropped out of the project quickly.
-Quotable: Michael provides more info regarding the Wrecking Crew controversy:

"... stuff like giving Hal Blaine the credit for playing drums on "Daily Planet". It was Jim Gordon. (Hal was a member of the Wrecking Crew alright, but he was tied up at another session, so Jim took his place, as he sometimes did). Another mistake contained in some of the interviews was giving Carol Kaye credit for playing bass on the same cut. Kenny played the bass part. Carol was bumped over to rhythm guitar. And that we were all crying really big tears when Elektra brought in the studio cats and chicks. Although we were, in fact, all sitting on the couch sulking and pissed off and wanting to kill somebody, we weren't crying. I think maybe whoever said we were crying, got us mixed up with "The Babies" who also did some recording at Sunset Sound."

-IMHO: Kenny's inclusion on bass is vital to this song. With all the weird twists and turns it takes (maybe more than any other on the album) his bass really drives the song and makes it one the albums best. Listen to this song and just concentrate on the bass part sometime.
-Fun fact: Reality and image are usually exclusive. Want proof? Look at the back cover photo of Forever Changes. Johnny appears to be praying to God; Kenny and Michael are sternly contemplating something; Arthur is holding a broken vase in an artistic statement to say that Flower Power is dying. In reality, Johnny is hiding a joint, Kenny just took a long drag from a cigarette and exhaled just as the picture was snapped, Michael was bummed out over a bad haircut, and Arthur serindipitously just picked up a vase that Michael accidentally broke. Bryan? Perhaps he was just having a laugh at the whole thing, or maybe glad that he wasn't going to look like he was a kid in a sandbox again.

-Lyrics:

In the morning we arise and
Start the day the same old way
As yesterday the day before and
All in all it's just a day like
All the rest so do your best with
Chewing gum and it is oh so
Repetitious
Waiting on the sun

Down on Go-stop Boulevard it
Never fails to bring me down
The sirens and the accidents and
For a laugh there's Plastic Nancy
She's real fancy with her children
They'll go far, she
Buys them toys to
Keep in practice
Waiting on the war

I feel shivers in my spine
When the iceman, yes his ice is melting
Won't be there on time
Hope he finds a rhyme
For his little mind

I can see you
With no (hands/face)
Eyes I need you
You're my (heart/face)

Look we're going round and round


You Set The Scene
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underture
Fifth Love

479 Posts

Posted - 28/11/2011 :  14:09:56  Show Profile  Reply with Quote
"Old Man"
From: Forever Changes, side one, song five
-Running time: 2:57
-Recorded: August 12, 1967 Western Recorders Hollywood
-Written by: Bryan MacLean
-Lead vocal, rhythm guitar: Bryan MacLean
-Lead guitar: Johnny Echols
-Bass: Kenny Forssi
-Drums: Michael Stuart
-Piano: Don Randi
-This was Bryan's only vocal offering for Forever Changes, and only his third (and last) recorded vocal with the group.
-This song was based on the "Troika" movement from famous composer Sergei Prokofiev's 'Lieutenant Kije Suite' from the 1934 Soviet film.
-In this song are traces fo the beginnings of Bryan's spiritual and christian recordings that he would pursue later on after he left the group. Bryan denied that the "Old Man" in the song was his father, insteading stating that it was just a generic wise elder man.
-This song almost did not make the cut for inclusion on Forever Changes. Bryan was not happy with the orchestration, instead preferring a more simple, direct folk song.
-Johnny almost sang lead. Bryan's pitch wasn't originally working within the technical limitations of Sunset Sound. They moved the recording over to Western Recorders (which had double the tracks of Sunset) and were able to make his voice work for the song.
-Michael's drumming consisted only of cymbals on this track.
-Quotable/myth buster: Would like to add a new wrinkle to this series when and where possible. Alot of false myths have followed the band and I hope to dispell them when appropriate. In this instance, the original incarnation of LoVE was a group in the truest sense, and not just sidemen complimenting Arthur as has been sometimes supposed. Johnny explains how songs would come to fruition:

"Arthur was always more of a keyboard player, than a guitarist. Back in 1964, I taught him a few chords, as did John Lucky. These were the basics, C_ E_ Em_A_ Am _F_ and G. For Arthur that seemed enough. He didn't want to put in the time, or effort required to become proficient on the instrument. In a kind of weird way, his lack of guitar skills, is what made it work for us. When a [group] of people are given cart blanche, to develop a song, you have a huge palate of idea's to draw from. He allowed Bryan, Kenny, and I, the freedom to create music and play chords, that we felt fit the song. Add to that, the exceptional rhythmic foundation that Michael laid, and you have a formula that worked. The outlines Arthur showed us, and the subsequent tracks, were often "light years" apart."

-IMHO: This is probably the least known of all of Forever Change's tracks, but that doesn't lessen it in the least. It was Bryan's most passionate vocal delivery of all his songs as he is really emphatic throughout, but especially in the mid-section.
-Fun fact: Perhaps 'Back In The USSR' would be a more apropos title for this song. Besides the Prokofiev influence, album orchestrator David Angel has Russian ancestory. Angel, in some ways the unofficial "sixth" member of LoVE for Forever Changes, was a renaissance man: a classical and jazz musician who earned his living by scoring TV and films in Los Angeles. He was recommended to album co-producer Bruce Botnick by Botnick's mother. His ability to translate Arthur and Bryan's visions to the strings and horns of Forever Changes is impossible to understate as far as importance.

-Lyrics:

I once knew a man
Been everywhere in the world
Gave me a tiny ivory ball
Said it would bring me good
Never believed it would until
I have been loving you

Dear old man
He'd seen most everything
Gave me a piece of good advice
Said it would do me well
I couldn't really tell until
I have been loving you

Now it seems
Things are not so strange
I can see more clearly
Suddenly I've found my way
I know the old man would laugh
He spoke of love's sweeter days
And in his eloquent way
I think he was speaking of you
You are so lovely
You didn't have to say a thing

But I remember that old man
Telling me he'd seen the light
Gave me a small brown leather book
Insisted that he was right
I only heard him slightly
'Til I heard you whisper
Took you up all in my arms

Dear old man
Wise old man
Fine old man, now


You Set The Scene
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Joe Morris
Old Love

3400 Posts

Posted - 28/11/2011 :  21:16:32  Show Profile  Reply with Quote
betcha the old man was Vito!
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underture
Fifth Love

479 Posts

Posted - 01/12/2011 :  13:06:55  Show Profile  Reply with Quote
"The Red Telephone"
From: Forever Changes, side one, song six
-Running time: 4:45
-Recorded: August 12, 1967 Western Recorders Hollywood
-Written by: Arthur Lee
-Lead vocal: Arthur Lee
-Lead guitar, background vocal: Johnny Echols
-Rhythm guitar, background vocal: Bryan MacLean
-Bass, background vocal: Kenny Forssi
-Drums, background vocal: Michael Stuart
-Harpsichord: Don Randi
-Working title of this song was 'Hillside'.
-The song's title comes from the infamous hotline between Washington DC and Moscow during the height of the Cold War. It was the last line of communication to avoid nuclear holocaust.
-The title plays in perfectly with Arthur's widely stated belief that he was not going to live much longer around the time he penned this song.
-Johnny speculates that some of the inspiration for the song may be from the 'Marat/Sade' movie, which he saw at the theatres with Arthur in February 1967.
-The 'Phil' in the lyrics refers to then Whisky A-Go-Go manager Phil Tanzini.
-Myth buster: One of the worst myths to dog the band was the 'Donut Shop Robberies'. It purports that Johnny and Kenny committed armed robberies on LA area doughnut shops to support their drug addictions after the band had split. As is the case in most rumours, pieces of facts were taken and twisted to fit a story. To set the record straight: these never happened with Johnny or Kenny, and there has never once been a shred of evidence to support this false theory. If you ever come across it in the future, pass the word: completely untrue.
-Quotable: Michael relates his thoughts on the famous LoVE billboard promoting Forever Changes in Los Angeles in late '67:

"First of all I was extremely flattered that the billboard was located above the Liquor Locker,... located near the corner of Crescent Heights on Sunset, it was the primary booze outlet to all the stars who lived in Laurel Canyon.

The funny thing about the configuration of our faces is, I don't think Bob Pepper knew who was who in the group, or maybe he didn't care. He was just working off the photos he was handed and trying to come up with something artistically interesting. But the bottom line is, turning our faces into the shape of an organic human heart was a stroke of genius, one that (barring any evidence to the contrary) had to have come from the creative mind of Bob Pepper, himself.

I guess it might have gone something like...Bob's burning the midnight oil, trying hard to come up with something unusual, only perhaps using the stereotypical valentine, but then suddenly his subconscious harkens back to an anatomy class he took in college... and the light bulb goes on, "Hey, wait a minute..."

I didn't catch it the first time I saw it, either. My Dad was the first to mention to me that the shape resembled a human heart."

-IMHO: My favorite song from Forever Changes, my complaint about it is that it isn't long enough. The lyrics, orchestration and band are all in unison in conveying the pervading feeling of paranoia.
-Fun fact: The best in-studio goof of the band ever captured was during a take of this song, during which they easily slid into a raucous version of 'Woolly Bully'. Despite whatever happened before and after, this was a priceless moment of band unity, even when you include Arthur's "Time is money" prompting.

-Lyrics:

Sitting on a hillside
Watching all the people die
I'll feel much better on the other side
I'll thumb a ride

I believe in magic
Why, because it is so quick
I don't need power when I'm hypnotized
Look in my eyes
What are you seeing (I see...)
How do you feel?
I feel real phony when my name is Phil
Or was that Bill?

Life goes on here
Day after day
I don't know if I am living or if I'm
Supposed to be
Sometimes my life is so eerie
And if you think I'm happy
Paint me (white, ...)

I've been here once
I've been here twice
I don't know if the third's the fourth or if the -
The fifth's to fix
Sometimes I deal with numbers
And if you wanna count me
Count me out

I don't need the time of day
Anytime with me's OK
I just don't want you using up my time
'Cause that's not right

They're locking them up today
They're throwing away the key
I wonder who it'll be tomorrow, you or me?
We're all normal and we want our freedom
Freedom... freedom... freedom... freedom
Freedom... freedom... freedom... freedom
Alla God's chilluns gotta have dere freedom


You Set The Scene
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John9
Old Love

United Kingdom
2113 Posts

Posted - 01/12/2011 :  21:01:06  Show Profile  Reply with Quote
For my money, The Red Telephone is the finest song that Love ever recorded - in addition to the strong melody, subtle arrangement and intelligent lyrics, this little masterpiece has a timeless resonance.

Edited by - John9 on 01/12/2011 21:38:00
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rocker
Old Love

USA
3606 Posts

Posted - 01/12/2011 :  22:23:23  Show Profile  Reply with Quote
I just don't want you using up my time

Always loved that line...good to know we can 'use up time' and we do like to have 'seats saved'...(ok I'm jumpin ahead...)
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Joe Morris
Old Love

3400 Posts

Posted - 02/12/2011 :  00:51:59  Show Profile  Reply with Quote
according to the interview of Arthur in Record Collector, the line "paint me white" (yellow, etc)
is obscured cos there were 3 people calling out different colors

Kenny said in his Discoveries interview that the song was inspired by them looking down at some ambulances from where Arthur lived
and was kind of miffed he never got lyrical credit!

Great song - heck of a way to end an album side!

The version (with count in) on the most recent reissue of Forever Changes (the 2 CD) is a bit longer, though its just guitar noodling ... sorry!


The version of Red Telephone on the Last Wall of the Castle bootleg doesn't seem to be much different (though its cut short, at least on the cd - don't know if so on the lp)

definitely a stand out on an album full of them (Clark and Hilldale, You Set the Scene, Alone again or, A house is not a motel, Live and let live); need I go on?

The band was definitely clicking!


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underture
Fifth Love

479 Posts

Posted - 05/12/2011 :  13:44:46  Show Profile  Reply with Quote
"Maybe The People Would Be The Times Or Between Clark And Hilldale"
From: Forever Changes, side two, song one
-Running time: 3:30
-Recorded: September 10, 1967 Sunset Sound
-Written by: Arthur Lee
-Lead vocal: Arthur Lee
-Lead guitar: Johnny Echols
-Rhythm guitar: Bryan MacLean
-Bass: Kenny Forssi
-Drums: Michael Stuart
-Title is so long that it would not fit in the subject header.
-The title of the song refers to the block of Sunset Boulevard that the Whisky A Go-Go is located. The actual address of the Whisky is 8901 W Sunset Blvd, West Hollywood CA.
-The 'Slop Affair' referred to in the lyrics was a resteraunt also located Sunset Blvd, the 'Eating Affair'. I could not find out any info on it.
-Not counting the overdubbing sessions this was the last song recorded for Forever Changes, three months after the project started. This is a testimony to perserverance as the first two LoVE albums only required a week each to record.
-Unsung heroes: They got no individual glory for their outstanding contributions to Forever Changes, but I think the string and horn players who played on the album deserve mentioning. They are: violin: Robert Barene, Arnold Belnick, James Getzoff, Marshall Sosson, Darrell Terwilliger. Viola: Norman Botnick. Cello: Jesse Ehrlich. String Bass: Chuck Berghofer. Trumpet: Bud Brisbois, Roy Caton, Ollie Mitchell. Trombone: Richard Leith.
-Quotable: Johnny on the song's meaning:

" Between Clark and Hilldale, is very much an auto biography. It tells of a young boy, who always wanted to be "somebody". He moved away from familiar surroundings, to make his way in the larger world. He became a success, everyone loved him, played his music, and wanted to know him. Soon he was the "big-shot" Living in the penthouse, where everyone could see him on the "roof". Soon he begins to wonder if those people who now profess to love him really do, (I wonder if it's me)? This was one of my favorite songs, not only because of its meaning, it was just plain fun to play."

-IMHO: The groove on this song is the most infectious of the album, and I think this is a 'Michael song' as he pushes the beat as Arthur kept urging him to do on this album.
-Fun fact: The 'LoVE' logo was designed by Elektra art direction Bill Harvey, who also designed the Doors logo. I believe Arthur's estate has legal rights to it now. The band name 'LoVE' came only after the band went through various name changes: The LAG's (LA group), the American Four, the Grass Roots (which was stolen from them), contenders Asylum Choir and Summer's Children before LoVE was settled on. Right name for the band: a simple four letter word that has a multitude of drama behind it.

Lyrics:


What is happening and how have you been
Gotta go but I'll see you again
And oh, the music is so loud
And then I fade into the...

Crowds of people standing everywhere
'Cross the street I'm at this slop affair
And here they always play my songs
And me, I wonder if it's...

Wrong or right they come here just the same
Telling everyone about their games
And if you think it obsolete
Then you go back across the street
Yeah, street

When I leave now don't you weep for me
I'll be back, just save a seat for me
But if you just can't make the room
Look up and see me on the...

Moon's a common scene around my town
Yeah where everyone is painted brown
And if we do get stuck away
Let's go paint everybody gray
Yeah, gray, yeah


You Set The Scene
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rocker
Old Love

USA
3606 Posts

Posted - 05/12/2011 :  14:22:31  Show Profile  Reply with Quote
Like Johnny E one of my favs too..just relentless..and this is one of Love's great melodies......
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Joe Morris
Old Love

3400 Posts

Posted - 05/12/2011 :  21:30:45  Show Profile  Reply with Quote
Best song on the album



(Best songs on the album also include Alone again or, A house is not a motel and The Red Telephone!)
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underture
Fifth Love

479 Posts

Posted - 08/12/2011 :  13:34:03  Show Profile  Reply with Quote
"Live And Let Live"
From: Forever Changes, side two, song two
-Running time: 5:24
-Recorded: August 8, 1967 Sunset Sound
-Written by: Arthur Lee
-Lead vocal: Arthur Lee
-Lead guitar: Johnny Echols
-Rhythm guitar: Bryan MacLean
-Bass: Kenny Forssi
-Drums: Michael Stuart
-Arthur stated that his mother (a schoolteacher) was the inspiration for the title of this song. He would carry the lyric theme of this song onto his next album, in the song 'Singing Cowboy'.
-The song was tried out during the 'Da Capo' sessions but the jazz elements (flute/sax/harpsichord) just could not meld with the song so it was placed on the backburner and then revived for this album. Johnny was given the freedom to really solo during the song and does not disappoint, although he stated that he is still not totally satisfied with his solo.
-Lyrically another great composition from Arthur. It is essentially a protest song yet it never comes across as dated or preachy, and is sublimely strange as well.
-Quotable: Michael gives his experiences touring, first with LoVE and then his general feelings of life on the road:

"With Love, we brought and set up our own equipment for all our "in town" (L.A.) performances, as well, and of course dealt with any equipment-failure issues ourselves. On the road, we usually took our own guitars but (to the best of my recollection) amps and drums were usually provided by the concert promoter.....


I actually kind of liked the hotels and the food and the travel... and besides, it goes with the territory if you're a recording artist. It's fun, man! It's like a vacation but you get to play music. Nothing wrong with that.

If you're a musician and you don't like the travel (and all that's associated with it), it's like saying you don't mind having a job, it's just you don't like having to get up early and leave home.

And when you're in your twenties especially, touring is a piece of cake. Even when you're older...heck man, I saw Robin Trower recently. He's in his late-sixties and he's still rockin on the road, no problem.

Audiences were cool, not fanatical and I never ran across any unethical promoters. They all seemed like nice people who were just so delightfully surprised when we actually showed up."

-IMHO: Maybe more than any other on the album this song sold me on Forever Changes, and this was after I had listened to it four or five times. Maybe it is the lyrical genuis of the bluebird/pistol stanza, or Johnny's kind of ragged but awesome solo at the mid section and ending, but I finally 'got' what this album was about via this song.
-Fun fact: There is not a glut of books or video available regarding the group, but of what is available here are the best. For books, "Forever Changes: Arthur Lee and the book of LoVE" by John Einarson is the most comprehensive about Arthur and the different incarnations of the group, and is presented with a balanced point of view. Also a must is the only offering penned by a member of the group, Michael Stuart-Ware's "Behind The Scenes on the Pegasus Carousel with the Legendary Rock Group LoVE" which gives his viewpoint during his membership in the group. For video the "LoVE Story" DVD tells the group's story up until the dissolution of the original group through interviews interspliced with the few images that captured the group in its prime. It is also a must have.

Lyrics:

Oh, the snot has caked against my pants
It has turned into crystal
There's a bluebird sitting on a branch
I guess I'll take my pistol
I've got it in my hand
Because he's on my land
And so the story ended
Do you know it oh so well
What should you need I'll tell you
The end-end-end-end-end-end-end-end
And...

Yes I've seen you sitting on the couch
I recognize your artillery
I have seen you many times before
Once when I was an Indian
And I was on my land
Why can't you understand

Served my time
Served it well
You made my soul
A cell

Write the rules
In the sky
But ask your leaders
Why Why


You Set The Scene
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