Discussion:
Arthur Lee RiP
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unionman
2006-08-07 16:49:55 UTC
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From the BBC......
Obituary: Arthur Lee

Arthur Lee: big musical influence
Arthur Lee, with his band Love, was one of the seminal
singer-songwriters of the psychedelic 1960s.
In particular, the band's Forever Changes album of 1967 became a cult
classic and Rolling Stone listed it as number 40 in its best 500 albums
of all time.

With his rich voice and his wide stylistic range, Lee became a big
influence on later generations and helped ensure that Arthur Lee's
recent world tours were a huge success.

Arthur Lee described himself as "the first so-called black hippie". He
was born in Memphis but moved to Los Angeles when he was five.

He was part of the same scene that produced The Byrds, The Doors,
Buffalo Springfield and The Mamas and the Papas.

Indeed, Lee's first band, Arthur Lee and the LAGs (Los Angeles Group)
were modelled on Booker T and the MGs. This developed into Love which
began playing Byrds-influenced folk rock.

First hit

But, as the psychedelic era got into full swing, Lee's songs became
more drug-influenced and incorporated broader styles including rhythm
and blues and hard rock.

One of the tracks from their first album, the Bacharach-David penned
Little Red Book was a minor hit, though the authors were said not to
have liked the interpretation.

The band's second album, Da Capo, was one of the first to include a
track, Revelation, which, at 20 minutes, covered the whole of one side.
It also brought the band a Top 40 hit, 7 and 7 Is.

Love's third album, Forever Changes, is regarded as their best. Using
string and brass orchestrations alongside surrealist lyrics, the album
still sells and is regarded as having influenced later '80s bands such
as Monochrome Set, Teardrop Explodes and Echo and the Bunnymen.


Forever Changes was Love's most acclaimed album
One of the band's most popular tracks, Alone Again Or, with its
distinctive Latin-style trumpet break, was actually penned and sung by
guitarist Bryan MacLean, a former roadie with The Byrds.

Love's original format broke up after this, though MacLean occasionally
teamed up with Lee in the future. The inclusion of Jay Donnellan as
lead guitarist on Four Sail (1969) improved the band technically and
Arthur Lee's voice was on top form.

But Love began to lose momentum as Lee hired more musicians and pursued
a solo career.

Various reunions amounted to little, and Lee's eccentricities landed
him in a Californian prison for six years.

Changed line-up

During the 1990s, he had fired a pistol into the air after pointing it
at a neighbour.

Although no one was injured and no property was destroyed in the
incident, Lee had fallen foul of the "three strikes and you're out"
policy, having been convicted of assault and drugs charges during the
1980s.

After his release, Lee assembled a new version of Love and toured
Europe and North America, often playing Forever Changes in its
entirety.

The tour went down well with audiences, and in 1995 Rhino Records
issued a two-disc compilation set of Love's best work.

In 2002, Arthur Lee toured again under the name Love with Arthur Lee,
once again to critical acclaim.

Earlier this year, Lee was diagnosed with acute myeloid leukaemia. He
underwent a bone marrow transplant using stem cells from an umbilical
chord, even though doctors told him that his chances of survival were
still slim.

Several benefit concerts were held in Britain and the United States to
help Lee with his medical bills, including one by the former Led
Zeppelin singer Robert Plant, one of many performers who cited Arthur
Lee as an influence.
Richard Ellis
2006-08-07 17:35:43 UTC
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Post by unionman
From the BBC......
Obituary: Arthur Lee
Arthur Lee: big musical influence
Arthur Lee, with his band Love, was one of the seminal
singer-songwriters of the psychedelic 1960s.
In particular, the band's Forever Changes album of 1967 became a cult
classic and Rolling Stone listed it as number 40 in its best 500 albums
of all time.
Thanks for posting this.

Long ago I went into a record store and asked the person behind the
counter if he had any recommendations for this new acid / hard rock
music that was being played on the radio. He pulled out three albums
for me (all first albums) and warned, "These groups are on the fringe
but they are some of the best...":

Country Joe and the Fish "Electric Music for the Mind and Body"

Mothers of Invention "Freak Out"

Love "Love"

Needless to say, I was on the road to ruin!!! Arthurly stayed with me
all these years and I still play "Forever Changes", over and over again.
Now it will be with a tear or two...
de
Richard Ellis
2006-08-07 22:51:52 UTC
Permalink
Here's another on Arthur Lee:

http://blogs.usatoday.com/listenup/2006/08/arthur_lee_love.html

Arthur Lee, Love's leader lost

So soon after the death of Syd Barrett, an equally brilliant,
underappreciated '60s rocker dies. Arthur Lee's Love was one of the most
innovative, influential bands of the era, and 1968's Forever Changes was
my favorite album of the time, and probably all time.

Here's what I wrote for USA TODAY, appearing Monday:

Arthur Lee, with his band Love, was an underappreciated but profound
influence on several key ¹60s music trends, and made one of that
decade¹s crowning artistic landmarks, the 1968 album Forever Changes.
Lee, who died Thursday of leukemia in Memphis at 61, leaves an
overlooked legacy of trailblazing originality.

Lee¹s musical range was enormous, a rock smorgasbord that encompassed
surf, garage, folk, jazz, Latin, R&B, psychedelic and orchestral pop
elements. When Love roared out of Los Angeles in early 1966 with a
dynamic, self-titled debut album and a raw-edged treatment of Burt
Bacharach and Hal David¹s sophisticated My Little Red Book, Lee
presented the pop scene with something new: an integrated rock band led
by a black singer-songwriter who melded The Byrds and the Rolling Stones
into a surreal, explosive hybrid.

Follow-up single 7 and 7 Is was even more explosive, a lightning-fast
garage-rock hurricane that climaxed with the sound of an atomic bomb.
Yet 1967¹s second album, Da Capo, defied expectations with mellow,
jazz-inflected marshmallow pop mixed with the Stonesisms and folk-rock
(notably, in a song called She Comes in Colors, a riff that directly
inspired Madonna¹s Beautiful Stranger).

Madonna has not acknowledged any inspiration from Lee, but other
artists, such as Jimi Hendrix and The Doors (who were signed to Lee¹s
label, Elektra, on his recommendation), looked up to Love¹s auteur.
Critics around the world fell under his spell on the release of Forever
Changes, a darling of the then-new rock press, routinely rated in
surveys as one of rock¹s all-time pinnacles and still potent enough in
reputation to rank No. 40 in Rolling Stone¹s 2003 list of the 500
greatest albums.

The album, musically rich and lyrically disillusioned, serves as an
early counterweight to the hippie bliss infusing much of the period¹s
music. Lee snarls through rockers Bummer in the Summer and A House Is
Not a Motel and waxes bleakly philosophical on the apocalyptic The Red
Telephone and Live and Let Live. He also allows the late and likewise
underappreciated Bryan MacLean to take the spotlight on the album¹s
best-remembered track, the gorgeously Latinized Alone Again Or.

That sort of generosity was uncharacteristic of Lee, a mercurial
autocrat who ran through large numbers of sidemen, hurt his career by
rarely consenting to perform outside of California, and tussled with the
law on occasion (most notably when he fired off a gun and received an
11-year sentence in 1996 ‹ though he was released in 2001). His artistic
impulses were wayward as well ‹ he followed Forever Changes with a
fascinatingly complex but hopelessly uncommercial single called Your
Mind and We Belong Together, then wandered through various musical
genres without coming close to revisiting his peak.

Yet after years of obscurity he began performing with a new, younger
Love in the ¹90s, and resumed after his release from prison, superbly
re-creating Forever Changes live (as documented on the 2003 album The
Forever Changes Concert, which rivals Brian Wilson¹s live Pet Sounds in
the great-album re-creation annals).

On Forever Changes¹ epic You Set the Scene, the 23-year-old Lee
seemingly wrote his own obituary: ³The time that I¹ve been given¹s such
a little while/And the things that I must do consist of more than
style.² They did ‹ their substance and influence will endure.

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