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REM "Life´s Rich Pageant"

My favorite album of the group, though little recognized, as the group's fans tend to prefer his early work records or after it. Relegating this album which laid the foundation stone of a slow path that will lead to commercial success, or even a mere about to drive her back immediately, "Document" as the basis of this more expansive sound that would mark his Working with producer Scott Litt, but losing the intangible qualities by the way, in my opinion. The sound of the album is a reaction to the dim and hazy sound of his previous work, "Fables of the reconstruction", with the legendary Joe Boyd (Pink Floyd, Fairport Convention, Richard Thompson and above all, the discoverer, producer and supporter of the late Max Nick Drake). Stipe himself described the album as "dark, damp and paranoid." So for your next job decided to find a rock producer, Don Gehman, known for his productions of John Mellecamp. Gehman gave them a more muscular, rhythmic sound, more concise and more clear. But at the same time, able to preserve and evolve the most typical feature of his early work with Mitch Easter and Don Dixon, these arrangements seem accidental anomalous but are carefully thought out. Gehman able to advance the group's sound, helped Mills, multi-instrumentalist of all to develop their capacity as arranger, ask him for his role as Buck guitarist Don made me question why he played at certain times. We wanted to be more direct "(Buck), here is away part of the arpeggio McGuinn and is the most direct and Berry helped to reconcile with the sound of your instrument. "In the past I always tried to get away from the rumbling sound of the drums. But it ended was weak and lacking in luster. Don gave us a strong drum sound but natural. " This new way, in part, to establish their sound, spurring your creativity. Of note is the effectiveness of organ and piano arrangements of Mills, which sounds throughout the album except for "Swan Swan. H. "You have to remember, to properly contextualize this work on this new sound that weighs the cul de sac away from the previous album. Also at that time that was recently published the highly influential "Candy Apple Grey by Husker Dü. Surprise, the structural quality of their songs, the influences wisely updated and decontextualized or immediacy aspects have always been secondary to the true essence of the REM sound, that indefinable ability to seize and subjugate the listener. In the first place, the group's music may seem homogenous, monotonous, slightly flashy. But it casts a shadow intrigue in the listener's consciousness, creating a strange addictiveness that gradually increased in subsequent listen. Only then reveals its potential. That sense of mystery quartet from Athens, combined with a more immediate, making this album, in my opinion, the most enjoyable of his discography. The beginning of the disc, with two of his most rock songs to date, is a spectacular example of this new sound, muscular and artistic at once. Surprisingly the front paper input assumed Stipe, is clearly understood, imposes his voice trailing songs, when it stood before indecipherable lyrics and the way they put the word out to the instruments in the mix, not above. Although these two songs may seem to approach the NRA (New American Rock), the group's resources are far superior to the rest of Yankee rock guitar, bringing them closer, more substantive in form, the sound of a Smiths detail. Marr, English guitarist, was able to simulate with interlocking guitar, the complex arrangement of a Motown song. REM has a musician so proud. Understand the limitations of each element as a musician, are part of the sound. But they know they can overcome their shortages with imagination. This will serve as its vast musical culture and talent that allows them to carefully articulate sounds and resources typical pop 60 (Byrds, Beach Boys, Big Star, Velvet Underground), with other more contemporary (Gang of Tour, Wire, Television, Patti Smith). Imagination are overwhelmed just these two songs: the tribal percussion (such marking and accompanying guttural rhythmic changes!), The wise guidance of the energy that takes place in the instrumental bridge, from guitars to organ, a phenomenon that seems electrical conductivity, Stipe's growling, the court put a phrase like rhythmic break before returning to the load, etc ... In contrast, "Fall on me," the third song, is that more easily fit in "Murmur" its debut. Here is the simple rhythmic legacy of Moe Tucker of the Velvet and funds from various speakers playing the same chords. Interestingly, the most successful and popular song of the album. Take note people to hear his debut, thinking that these guys had no sales potential. The rest of the album, is filled with similar details. Give a general overview of them: cash nostalgic riff on opener "Cuyahoga", its arpeggios to McGuinn, treatment frenetic perfect melody of "Hyena", the great piano work of Mills in that song, "Underneath bunker "is an experiment, a pseudo Latin instrumental with imitating Stipe animal voices and singing through a megaphone police, in the best style Waits. "The flowers of Guatemala" are priced vocal counterpoint between Stipe and Mills, a fund of last guitarrarero feedback and a simple backward Buck only on a "cushion" to organ and a drum that looks like a field recording of a string mount (a bit like "Cabinessence" by Brian Wilson). "I Believe" begins with a banjo intro, reflecting the status of Southerners Quartet for this upbeat and lively song, with accordion and a mixture of pristine guitar to strum Television with garajeros. "What if We Give it Away" has a Gothic choir at first, as in his first album and a harpsichord buried in acoustic guitars. "Just a touch" is a song from chaotic punk and new wave (it has a tap dance to the Gang of Four). And finally, the first version that the group included in an album and not a B-side single, "Superman", the success of a shadowy group of 60 garajero called Clique, where Mills takes the lead vocals. NOTE: The CD reissue has six bonus tracks, including live in studio versions recorded on two tracks, one instrumental to the Joe Meek with a touch Byrds on guitar ("Rotary Ten") and versions of Aerosmith and Everly Brothers

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La muerte de la musica



I have it clear, the main cause is the modern productions. These sounds without sharp edges, no nerve or anything, looking for impact only under the banner of saturation and fill all sound (more noise), creating a feeling of satiety and boredom in the listener.

That sound environment of the Sun, the sweat was palpable in the productions of Stax, the reverb of surf guitar, the Despiporre that flew over the primeval rock recordings where you could hear the singer taking a breath, the guitarist strumming the strings of his instrument or the great genius who was Joe Meek tune using notes or instruments, the echoes from different parts of the hole that used to study. The static, the sound in the environment. That sometimes is more important than what is played. What

from where you sort of infra est thesis? Have I conducted a study of the holy ciborium or something? No, they are my own impressions and the loose here that this is my blog. Also

I leave a photo of La Lupe, one of the largest.

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Byrds "Preflyte Sessions" (1965)

This double cd albums wholesome " Preflyte " and "In the beggining ", plus some extra outlet, which is dedicated to collecting the demos they recorded with producer Jim Dickson before signing a contract with RCA. By having this firm policy of employing only producers who were under payroll, poor Dickson was removed from within the group.

contain Beyond test the group's evolution toward that sound as distinctive and novel explosionaria with their debut, this album is enjoyable in itself. It contains great songs, some inexplicably unpublished and are recorded in a professional studio (the studio itself by Jim Dickson who was to be a saint and I'm not surprised that give food and wrapped in bed). Come on, do not sound at all inexperienced. More naked on his debut, perhaps less personal, but proud.

I used this collection to claim effectiveness as a drummer Michael Clarke, who was inducted into the group for their spunky Rubiales painted when the rest of the group found it on the beach playing the bongos (and feet would like the thousands of black friends the ethnic and multicultural that plague our country have had such an opportunity.)

The boy apparently had not played drums in life and had to learn on the fly. Neither Hillman was bearish, his was the guitar and especially the mandolin, but do not cost as much converted to an instrument of the same family. Clarke is not an octopus, of course, but has very good taste and instinct for touching it is a little or a lot, contribute positive elements to the song. This ties in well with the simple but subtle style of the rest of the set. The best compliment you can take is that when you replace Jim Keltner, not noticed an improvement (even worsened) in the overall sound of the group.

In terms of content, apart from heavy versions of Dylan and primitive recordings of pieces that would go after the group's first two albums, we have several gems that have remained unpublished until these discs removed and archaeological belong to the exceptional and prolific pen of Gene Clark, who was a monster:

" The only girl I adore " an Everly Brothers-style piece, with the Byrds simulating the vocal games of the two brothers. "You Showed Me " which then would record the Turtles, it's these songs that by themselves are worth purchasing the disc containing it. An absolutely perfect and catchy melody like few others. The accelerated " You movin '" to go to find out what the hell was rejected when it would fit perfectly for your debut with "It's no use " and is a perfect piece to animate a concert or similar roost. Or the superb "The airport song." Seeing as some mediocrity which disfigures the first two albums, that song hurts so good how are you were not included.

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Pretty Things "Emotions" (1967)

Well if it's not my eagerness to be contrary, but is my favorite album of all British. And they do not like either of them. The producer, Reg Tilsley, put metal strings and without their consent and were not satisfied with the result. In this third album, leaving the ferocity of their previous two albums and take the path that takes them to " SF Sorrow" (1968) and " Parachutes" (1970) considered the summit of the whole.

This was the first album of Pretty I had. Then I did with "SF Sorrow " disappointed me. Today I like, but eventually I found a record of production. That is, many different elements to hide the lack of songs about regular basis. A defect, to cite an epitome disk where the production masks the songs, which happens to some critical acclaim as "Ok Computer " (1997) by Radiohead. By the way, "Paranoid Android " from that album of Radiohead copy the riff from "In the square " from "Parachutes ."

guess I should be a shock for fans of the group, after the first two albums devoted to rhythm & blues that left the Stones like the tuna, although copying a bag (with that extra bit of rudeness ), listen to dive in these records so melancholy, to a certain point, sound level, equidistant between Love (how to use the arrangements) and Kinks (cabaret music, swing and the contents of the letters, besides a version of " A house in the country " of "Face To Face " 1966, included in the extras), but as a very personal record. Many of the songs seem miniature, almost skeletons of song and earn enough thanks to the additive noise to which they are exposed. Showing weakness in those moments as creators of the set. The winds were blowing badly for the groups of his rope and things were changing very fast in the pop scene for a group like them survive if changes direction. So, this is an album rushed and forced, the Pretty have to write songs in a style that are not prepared and as not relying too heavily on its creative engine, are given a producer garnish songs. Unexpectedly, the play they went well.

heard the record, the truth that one can not imagine these songs without the arrangements. For example, the acoustic "Death of a socialite " (which according to them was inspired by the lavish and thick " A day in the life " by the Beatles! Even remember much more to "Death of a clown "by the Kinks) without these metals would be a song too spartan and at no time the brass section is too intrusive, but provides pace and variety to the piece. Another example could be the monotony with which they performed "The sun ," a piece with a certain air to the first Animals that did not use the orchestration to create those cardboard melodrama stone so aided when the rock / pop uses the resources of the music called serious. But who benefits from these as they would a song too flat "plain." " There Will Never Be Another Day " is a return to its origins taking advantage of the addition of metals to give a boost to the matter of rhythm.

One of the jewels of the album is "House of ten ." A languid slow song embellished by harp and strings creating a very melancholic atmosphere. The best of album next to " Growing in My Mind" with a very Stones on the stage of " Aftermath" (think "Out of Time " or "Take it or leave it"). In fact the disc is an experiment in pop Pretties sophisticated in the way of the Stones "Between The Buttons " of the same 67. " Photographer " sounds like a version of "Subterranean Homesick Blues " Dylan turned into rhythm & blues to metal, a bit like a version of Harry Nilsson made later, but not half the raw boogie Nilsson and Lennon created on your hard together. And the final piece "My time " again stressed about my impression. Would this song a memorable if not for the instrumental accompaniment that provides Tilsley? I insist, is too restrained, without stifling the songs.

EXTRA MATERIAL: We mentioned version of the Kinks, which seems higher than those to be more raw and driven, but does not contribute almost nothing to the original. And no arrangements Tilsley versions of various songs from the album, where you can see that clearly won the final treatment.

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Byrds "The Notorious Byrds Brothers"



My favorite album, along with the debut of the ensemble. Too bad you do not have a cover as pretty as his debut with the group that snapshot taken with the "fisheye" camera. A very original picture, and not only in terms of photographic technique, but in the attitude displayed by the group. Neither are some tacky as the Beatles or the Beach Boys, or exhibit a menacing like the Rolling Stones. Is more distant, more intellectual. In short, this album cover before us is an insult to the discordant element, but with undeniable talent that is David Crosby. Fired soon after the first sessions of recording of this work.
Despite their exclusion and traditional air cover, Crosby and their vanguard ways are even more prevalent than in the previous disc in the set. Since, McGuinn and Hillman regained some songs that I had prepared for the album Crosby, co-signed by fraud and included on the album. Although it is fair to say that the treatment that was given was exalted.

Michael Clarke also expelled, the poor increasingly painted least within the group. Or composed, and seemed to like the musical dimension that was taking the group. At least he included on the cover. Although the battery was placed under the professional hands of Jim Keltner.

If the previous record was the most heterogeneous group so far, this part of this lovely spread, bringing together such diverse sounds in the same composition if necessary. Conceiving a record that is a major work of pop art, although the album remained in disgrace until recently. Not the titles that have the fan when it first approached the Byrds. It is a shame because it should be. " Notorious" is the first Yankee psychedelic " The Piper At The Gates Of Dawn " (Pink Floyd, 1967). The bright colors that will color the sound its British counterpart to escape the gray England, is replaced in the case of the Byrds and the blue skies and the lush countryside of the sunny California. The feeling of fullness that overwhelms this album, underground tour of a bleak fate (an impression that tells us that never again be so young, so innocent so happy) is similar to the exaltation vital that we find in a masterpiece like "Forever Changes " (67) of Love. As I said at the beginning of the review, this debut album and are my favorite albums of the Byrds. For different reasons. His debut for the energy and freshness that follows, "Notorious " it is by its sonic excellence, is the highest point in the race together. Justice is to mention the fantastic production of the album by Gary Usher. Usher is a perfect balance in "Notorious ." Balance between production complex with several overlapping layers sound with intricate details but this clearly subtract the song and harmony between different musical styles that run the same piece, sometimes playing simultaneously.

Opening the album is a thing of the remaining original duo, "Artificial energy." Contains a saturated bass sound and guitars, passed through a fuzz pedal, a trumpet and a mention in his letter to "Ticket to Ride " by the Beatles, this ode to speed. The fantastic production of Usher gives the theme a touch closer to the Beatles of "Rubber Soul " (65) and "Revolver " (66). " Goin'back " is the song that replaces original disk " Triad" (though it appears in the bonus) and that caused the debacle that ended with the expulsion of Crosby, not wanting to participate in this recording. It is a version of Carole King speaks about the loss of innocence, a little like "My back pages " Dylan, what version on the previous album. It contains a lovely vocal line sung softly (very Crosby but, again, is not involved), a shy and glockenpiel orchestral arrangement that gives the composition a child touch and distant in time. " Natural harmony" with their voices like filter to what would later Black Sabbath "Planet caravan, "the steel of the collaborator Red Rhodes and moog glider in the verses, which contrasts with the rhythmic thrust (that battery as a group own beat) chorus.

" Draft Morning is Crosby, although Hillman and McGuinn was stolen. But are exempt from conviction for such exalted treatment that endow it. One of the best tunes he composed an angry David Crosby for a song that denounces the inhumanity of war. I spare the middle part Usher adds much to the style of what they do in "My World Fell Down " Sagittarius (with better results in the song of the set of Boettcher), but the melody is beautiful. Usher is very appropriate in this album. Except for this detail.
"Was not born to follow " is the second composition of Carole King to versions on the disk. Interpret a song like an outpost of country rock that would practice on their next album, "Sweetheart of the rodeo " but with much better results. The central section that starts the tone of the song, with Clarke and McGuinn guitar intertwined and phaser effects, is impressive. I insist on emphasizing the delicate balance that keeps the disc, can happen, for example, a fragment psychedelic guitar riffs to a country with the most natural. A heterogeneous disk to schizophrenia, but endowed with a great internal cohesion that unites all its richness of sound in an indivisible whole. " Get To You" is another gem. A beautiful vocal melody accompanied by a string section that included "school" with great results, Rhodes steel guitar with a country fiddle. In the chorus, some distorted vocals are in the foreground, while McGuinn seems to sing in the distance: "That'sa little bit Better "

" Change is now" is the only song on the album that Crosby participates, what which shows in the fantastic vocals in the high register. Following a similar melody part to the previous album tracks, a steel guitar and a rhythm Trotter to give a country feel to the track (which is better than all the "Sweetheart of the rodeo " together). The mid-section instrumental song with Crosby and Clarke to duel with the electrical leads are fantastic way to more acidic sounds of Hendrix himself. Attention on this part to support that provides a great Hillman on bass.
"Old John Robertson " was a former single and already appeared among the extras the previous album. Also include it here, caused a tremendous anger Crosby, relegated it saw as its (wonderful) compositions include songs and edited. Even well, is great. "Tribal gathering " Crosby. The vocal melody, very complex, composed inspired by the Four Freshmen (a very important group for the Beach Boys). It sounds to me also to the sunshine pop of groups like the Association. It has a bright taste stale, almost lounge music in contrast with that planner instrumental section driven by guitar Clarke.Es incredible wealth of music that have these songs from the Byrds especially on this record, are capable of unifying ideas and almost opposite styles , without sounding in any way to hybrid report (as in many acid rock formations of San Francisco). The same song, " Tribal gathering "three-minute acidity exceeds anything the horrible Grateful Dead (group scorn and punishment with the whip of the most abysmal indifference, not having a single hard copy of them in my collection. Normal to the absurd Appointments of Bob Dylan backing band: they are just sleeping pills) and also is catchy.

In "Dolphin's smiley " can smell the ocean reach California. And listening to the lovely guitar effects of McGuinn, with which perfectly mimics the treble sounds emitted by dolphins. It is also very imaginative middle section with the presence of a moog as well as those bells end to create an effect like the splash of dolphins in the sea.
Unfortunately, the final "oddissey Space", the less able. Although fit perfectly in the context disk. Do all the morons who get involved with "Mind's garden " Crosby, swallow this Peñaza? Crosby normal goats not let him get his " Triad," which is infinitely better than this crappy song. EXTRA MATERIAL

"Moog Raga " as the last thing McGuinn and his love of tinkering with the moog. The song is even more than what the title describes a raga-built on-moog sounds of a sovereign pre bodriazo techno.
A "Bound to Fail " instrumental. Is a composition of Mike Brewer, Hillman would recover for their master project with Stephen Stills, Mannassas. Appear in a superior version on the debut of these (of 72) entitled as a whole.
The damn song, "Triad " was rejected by its lyrics about a menage a trois (Crosby with two women, in particular, was no fool) and its similar sound to the music that was on the Coast Western United States at that time. Crap, is a splendid song of Crosby in his minimalist line (two chords), with a fascinating vocal line, performed incredibly by the author, with the influences of Indian music that had led the group. Although inexplicably rejected the Jefferson airplain Byrds recorded it (courtesy of Crosby himself) in a power much lower than included here, in his "Crown of Creation " (1968). The advances we Crosby records his magnificent solo debut " If Only I Could Remember My Name " (1971), the best album by a solo Byrd.
of curiosity, was named to the fabulous third album of Big Star, specifically the line of his letter " Sisters, lovers, what a brothers."
appear again, in different mixtures, " Goin'back "(without orchestral arrangements and vocals in the foreground, allowing the glockenpiel which is not very audible in the official version of the album gain greater presence) and" Draft morning "with an ending different from the official version. And a demo instrumental of what would be " Change is now", here entitled "Universal Mind Decoder " without the involvement of Clarke (replaced by McGuinn in his personal and magnificent style). As hidden cut short excerpts succeed recording sessions of various songs.

Download Link: No herein that the magnificent American justice or acting in the JURISDICTIONS This blog has no better thing to do to touch my balls and I have removed this post, now back up. Anyway, it's easy to find on google. Just write the name of the disc and adjacent quotation marks, separate and outside the quotes keep trying with the names of the most popular pages download (rapidshare, megaupload, etc ...). Above you deleted the entire entry, not just the link, as punishment, regardless of a shit how long you've been writing your post. Fucking trash country Protestant and fans.

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K.D. Lang "Drag" (1997)

A good woman is discovered with his masterful reading "So in Love" in tribute to Cole Porter album "Red Hot + Blue" (90). Best of this album, apart from the tech version of "Night & Day" by U2 , making a love song into a haunting ode to obsessive (which amounts to a reinterpretation of a song well done, apart from the package modern records to find new music), two ladies were mighty voices: KD and Sinead O'Connor singing the "You Do Something To Me" (being an advance on their cover album "Am I Not Your Girl ", 92).

Truth guadianescamente I have followed the career of this woman, but this "Drag" has convinced me in his favor. I also remember a spectacular version of "I Will Survive" by Gloria Gaynor who listens to perform at a concert (can not remember which) they cast on television. It is unfortunate that only see this woman talking about the topic of homosexuality recognized, when a top performer. On the record before us centers around a series of very different versions, turning conceptually on addiction to snuff (although sometimes they let some license as in the case of the version of the Hollies or "The Joker" ). This, say, at the lyric or the concept that involves the versions. Musically, the issue becomes more important, it combines classicism (the songs, the interpretation) and renewal (such as original arrangements on that emphasize below). The mixture of historical classicism Jimmy Haskell (impressive resume, his is, for example, the award-winning string arrangement of "Bridge over troubled water" ) with atmospheric guitars (as stated in the libretto as "guitar loop" by David Top, provide the album a timeless, dreamlike, dreamy, and outside time.

To give some details, the final orchestration, as sounding from afar, the beautiful version of "The Air That I Breathe" of the Hollies. Deleted horrible original guitar solo, the song won integers. Or the beautiful game between similar tones of the organ and the vibraphone in "Smoke Dreams" that give a very close to Julie London records. To which also helps the savoir faire of Lang. Al "Do not smoke in bed" of Peggy Lee gives it subversively lounge atmosphere, although it seems paradoxical. What in the hands of others might be just easy listening, that is, sounds nice, it becomes something ethereal in this album. The catchy version of "The Joker" is a very conventional, not bad, the disk, although the tempo is changed and brought to ground. It also has merit its fabulous version of "Til the heart caves in" of his friend Roy Orbison or convert " The valley of the dolls" in a torch song, even more reading that Dionne Warwick.

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Hastiado del rock

I still be Guenin

99% of the current rock gives me a tremendous boredom. Compare the music of previous decades (I refer mainly to the 60 and 70) with what is done now, I suggest the image of a butcher cortándote a leg of ham and obsequiandote only the crust of the piece and with a bit of bacon stuck this, without ever scrape the inside of the ham.

Much to insist on the other side of the fence, those who say that everything is guest and can only honor the memory of those (groups) "dead", there is something inherently exciting about the discovery. In any area, not only in the musical. The human being is moved by the virgin land (in all senses) and routine kills not only sexual and emotional relationships, but also the creation. To justify this routine (in this case, music) there are all sorts of bad excuses: the eternal chant of "invent other, which is all that" or words that have been devoid of meaning, even embezzled , as an attitude (nose), roots (repeat), regardless of fashion (inability to absorb any influence new or explore other avenues). And of course, the "we" are supposed to do, good-songs, do not do boring and / or experimental sounds pretentious. " If fans with songs that remind hearth of their favorite songs-and past-at least to comfort and to deceive the firstborn, who does not know these previous references. And if school since the last coward.

Influences: Stones, Beatles, Kinks, Who ...

So, lately I'm trying to group them get a bit of jack, queen and king (of pop, rock ... well, the subtrack whatever). What bothers me is not to copy, copy is so bad. The lack of capacity for abstraction. A group of 60 copies a picture of another composition, I had a different context and created something completely different (and I think a completely valid creation). This concern has disappeared.

Well, what was. I'm trying to groups that long line that goes from (we're talking about upgrades) kraut, to trip hop, post rock, through the lounge. Groups such as Portishead, Laika, Moonshake, Tortoise, Stereolab, Broadcast and Pram. I like to play with textures, do not forget what a song and try to move (to cause some concern with the sounds that go beyond using sounds "Molanta" problem electronic music endemic to so-called "smart"). Speaking of emotions, words which I use for want of a better. Fed up with bands who insist on the spontaneous, willful little music, it seems that the exudative. It sounds like most of the time. He very well pass them, no doubt, but not the listener. From here I claim the cold mathematical intelligence of music.

made me reflect, albeit negative, a book that caught me on the technical aspects of the music of Brian Wilson. I bought very excited but I was disappointed. It's incredibly comprehensive at some level. You talk about a song and you compare your melody or chord changes with other parts, whether the same author or in which was probably inspired. But other aspects of Wilson's music does not speak or do not know. For example of their imaginative productions that sound completely natural but unrealistic (in terms of available sound layers) that succeeded. Or the incredible arrangements and infinite texture of your best work. And that made me think that maybe some players (say, learning by ear to learn music or a style only) copy such things (melody, riffs, chord wheel) and others (both ignore these aspects earlier, as have some studies say more regulated) are set out in more subtle aspects of music.

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Mr. Bungle "California" (1999)

The band's last album of Mike Patton and Trey Spruance is the disc alongside more accessible of the three that gave us the most achieved and the level of songs. Stylistic changes within a song are better integrated than in the two previous albums and easily engage the listener. The title of the album, it seems, is a joke at the expense of the Red Hot Chili Peppers then delivered their mediocrisimo "Californication" . Apart from this detail, also indicates the overall immersion in the music of the coast: surf, Hawaiian music and many details pointing to the greatest ambassador of music California, Brian Wilson.

Verily those drums that appear in the first issue, "Sweet charity" having a left to the music of Hawaii. "None of Them Knew They Were Robots" is a marvel multiestilisica concretion, a power surfing mixed with swing base, where they insert all the crazy things they come up! And work!: Metaleras guitars, music from cartoons, retro touches futuristic, funk, jazz and even pieces sung in Latin. To send the halo of which never had to leave all those swing sclerotic bands that emerged in the 90 to root bodriosa success of the movie "The Mask " (that hodgepodge starring actor Jim infra Carrey). "Retrovertigo" is most conventional album. A part-time with some melodic guitar pop and scheduled basis. But back to Brian Wilson, "The air conditioned nightmare" is a "Good Vibrations" modern. Wilson explotation the best I have heard in decades. No copy cliches (well, some structure, choirs and percussion if you have air, but well run), only allowing himself to imbue the unhealthy environment that swept much of the "Smiley Smile" . In "Ars moriendi with what they play is with Romani gypsy music from Eastern Europe, with rave metalheads and some mention of Dick Dale (again California surf music) creating an atmosphere of revelry downright fun.

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Especial Love

LOVE: THE END OF SUMMER

" Nothing gold stays "Robert Frost



As if in placid California summer of 1967 to float a dissonant element radiating sensations that only he could perceive, Arthur Lee left captive in" Forever Changes "a fleeting sensation of fullness in full swing, captured the moment just before this will wither and wither forever. In this sense impression that causes your listener must fit the historical context in which it was published and was living in the world these days, to attest to the ability of the leader of Love apocalyptic: the Summer of Love was passed; point height of the countercultural movements of the sixties, the French post May 68, the civil rights struggle, in short, the ideals of a generation that was believed capable of changing (for good) society of his time. Arthur Lee

crumbling vision that dream and was able to legarnos his testimony as privileged observer of that era, such plea located somewhere between schizophrenia and the most pessimistic utopian idealism (eternal changes referred to by the album title). Flooding each row of that light of dusk, whose light is more intense but also the most fragile, desperately trying to capture a moment of plethora eternal, forever, of that beauty immaterial, intangible as the summer haze, which was palpable the atmosphere of a time nearly slain. As if he knew beforehand that everything had to be lived intensely necessarily brief. So desperate and urgent sound of this album, which the author himself admitted having made imbued by intuition that he would die at that time.
paradigmatic
This work carries the incongruity of being at once the greatest expression of spirit of those days California death certificate at a time. Like Hitchcock in "Vertigo!" we plunged into the story of a love so great that exceeded even death, to show that romantic love could become, with a twist in the same scheme, in love fou by James Stewart obfuscated to dislodge the beloved of his personality to become obsessive in their ideal, Arthur Lee shows us that after the joie de vivre comes inexorably the spleen, as love bears within the seeds of enmity and hatred. Both artists show us the extent, without avoiding the darker areas, of what they depict. To do so immersed in what we unconsciously question to censure the collective paradigms. Than the cliches of love movies (with the same goal posts, another author could have created a "Romeo and Juliet" or "Love Story" in "Vertigo!" is Stewart himself who destroys Kim Novak) or in the case of Lee, using the ideological and musical corpus of his time, signing the sunset and the swan song of his age and his youth. Not by intention to criticize or look to parody but the inner one, which arises from the same passion as that which ships Captain Ahab to his own destruction in the "Moby Dick" Melville . What makes us more aware of the value of beauty is to be aware that this is finite, we say their work. Which apart from a revolt against conventions, share owning various reading levels. One calls us in the forms of a thriller of intrigue, another beckons with its siren song where danger awaits in the form of sound, where sound takes us to places that are memories, seeking shelter and comfort lost friction blurred face, a journey that promises pleasure ... until the last failure, no one can ever stop, even in the particular room, which is memory. The catharsis engendered new perspectives.

"One thing is certain, life flies, one thing is certain and the rest are lies, once the flower opening its petals, dies forever" Omar Khayin



These verses "Rubaiyat" condense the spirit of "Forever changes" and background are very similar to those of Arthur in "You Set The Scene" majestic closing album: "Solo am sure of one thing / And that every living thing will die . " This statement disagrees with the exultancia helplessness that, among the fanfare of trumpets, Lee repeated over and over again, crazy, pushing us toward life: " This is the time and this the time and it is time, time, time ". Warning us that "life is final draft " (Shakespeare). But this is to start the story at the end. Since the gestation of this work was not exactly simple.

trials to prepare the instrumental parts of the new material, the most complex they had written, were little fluid from the desultory nature of the group and the drug flowed freely for them. In addition, some live playing, which got to the studio rusty and out of shape. Elektra, who had hired musicians for orchestral sections of the album, after a failed take of the group, decided, together with Arthur, to hire some musicians, wrecking crew named components (the same genius as musicians Spector used or Brian Wilson) to shape the foundations instrumental song. Including drummer Jim Gordon and the great bassist Carol Kaye. But the outcome of these sessions the group also left satisfied or Elektra executives. So the recording was postponed began in June 1967 until group members were able to play their parts correctly. Thus, "Forever Changes" was recorded in autumn and was published in December of that same 1967.

In "Forever Changes" shaped a wonder where they spare a single second. The balance between the orchestral and electric outbursts place the disk in a limbo, half dreamlike baroque, meaty half thanks to the exuberance of those that give the album Latin rhythms used in profusion. Despite the abundance of orchestral arrangements, how to use these is far from the wall of sound Phil Spector, if it uses the accrual for impact, arrangements "Forever Changes" are plotted with surgical skill, so indivisible integrated in the songs of similar price to the first solo album by Curtis Mayfield ( think things like "The Makings Of You" or "Wild & Free" ). Sweat leaving the essence of the songs, leaving room for silence, giving way to a paradoxical intimacy that makes its way through dense sound masses, exemplified this dichotomy in the intensity grows and fades like a wave lapping sea "Alone Again Or ".

There is a giant leap from "Da Capo" , his previous work. In this album, and began using more color cast instrumental sound funding of the songs, the guitars were added to organ dizziness, flashes of harpsichord or flute and sax aromas and ordered in overlapping layers of sound. The taste of modal jazz previous album is here displaced, without leaving Los Angeles, the music of the film studios of his most famous hill: Hollywood.

Everything happens with a deceptively smooth spontaneous (when songs hide a complex) and any sound decision is chosen with a prodigious intuition, as if among the myriad infinite music solutions, was the only possible: mariachi trumpets "Alone Again Or" , this superb orchestral arrangement of Prokofiev inspired "Old Man" , both MacLean, the final electrical magma "A House Is Not a Motel ", the atmosphere to Morricone's spaghetti western " The Daily Planet ", games between guitar and trumpet " Live & Let Live ", orchestral loops to Philip Glass "The Good Humor Man" , Lee abandoned that style of previous albums Preaching to talk to himself as a great ventriloquist and hundreds of details that await the listener discovers them in successive listen. Even the only piece that comes down from outstanding "Bummer In The Summer" ( vocal melody of "Plastic Fantastic Lover Jefferson airplain embedded on a Bo Diddley rhythm to it) has its one.

If the themes addressed by the lyrics of MacLean, the other composer on the album, are simple to understand: alienation and the need to be loved in "Alone Again Or" (" know, anyone could fall in love / And I'll be alone again tonight ") or a simple fable in " Old Man " . The verses of Arthur embark on a surreal flight, combining predictive judgments " The news today will be tomorrow's movies (" A house is not a motel ") known to be conscious of living a time that will result to future legends, with the absurd " have hardened snot on my pants / It has become crystal (" Live and let live ") of similar eschatology which had been used in " She Comes In color " about a woman who has sex during the period. Also playing phrases interpretations dismissal different, is to the repressive forces of American society to which reference in the verses of "The red telephone" " The locking and pulling are the key / I wonder who would play /" you or me? "this confessing the loss of his sanity or maybe admits to being self-absorbed and self-enclosed? What do you mean exactly with " was very hard to learn that everyone I saw was just another part of my (" Bummer in the summer ")? What about travel hallucinogens, the projection of their desires and wants or dart thrown themselves hippies calling delete provisions the individual into a kind of communal society? And the passage in Dante that illustrates "The red telephone" " Sitting on the hillside: Viewing people die" is inside or outside? Extending the strangeness that desire precedes suicide " I feel much better on the other side ." Continuing obsessed with the dissolution of identity, a subject had played in "Stephanie Knows Who" (verses " Who am I now, dear Stephanie? / I'm you in disguise " beyond doubt on sexual identity) and now takes a more overtones claims, rather than halting, his personality seems eroded away from any view of reality than his own: " I am involved in my armor / Lost in the confusion / 'Cause my things are material " of "Andmoreagain" thereupon to confess his inability to express their feelings " never know how much I love " or "false I feel when my name is Bill / Or is that he was sick? "of " The Red Telephone ". When there is no world out and present, has a world inside, seems to be telling Arthur, contained in delusions of his tortured psyche. And its internal burning, such as rum, the sweetest most burns, wrapped in misty fog and light breezes orchestral folk. Although Love has been pigeonholed into that movement, his is more alchemy (from the verb, add to the pair Lee and Rimbaud, from beyond the grave) to psychedelic surreal to abstract. His psych is more impressionistic than the background noise forms. No exotic instruments, studio experiments, and explosions of color or lysergic euphoria. Not intended to change the world between smell of patchouli, cannabis and sandalwood, but we are immersed in an exercise in psychological introspection tinged with fatalism. Playing with universal conflicts of Greek tragedy, delving into the unconscious with a poetic aspect (of which Morrison would take careful note in his "The end" to treat Oedipus complex)

"Clothes that are a binge eye / Women whose teeth and nails are painted, and jugglers wise to caress the serpent "Baudelaire



" to understand, just imagine a square mile of streets perfectly side ... perpendicular and houses exactly alike. Here's a drugstore, where a supermarket, service station another drugstore, another service station. You take a square and you repeat it hundreds of times in all directions, identical. That's LA. "

In this guise described their city Morrison Jim French journalist Hervé Muller. If I had asked about the Love would have said something like " Doors The day we are as big as Love, my life will be complete ." Had a lot to thank them, in particular its leader, Arthur Lee, who had even become his friend. It was he who convinced Jac Holzman, Elektra president to go to see them at the Whisky, from which came with a contract in hand. Just friendly words would come from the mouth of Jimi Hendrix himself when he was an unknown guitarist who played where he could and Arthur gave him a chance to deflower in the recording studio. Both situations were in couples: they knew with a special talent but nobody seemed to recognize. Arthur, after a few experiences in groups trying to imitate fashion trends (Arthur Lee & The Lags, his answer to Booker T. & The MGs or American Four, among others), had resigned to write songs for other . In these, he was recording his song "My diary" with vocalist Rosa Lee Brooks when I needed a guitarist who riffs touch to Curtis Mayfield, one thing to "Gypsy woman" . He had spoken of a great guitarist named Jimi Hendrix. Arthur did not know him personally or had heard, but had heard that the very unhappy with them is he rolled his aunts! However, given the alternative.

" go towards the periphery around the city. Outside you will find refined service areas of child prostitution, but in the sordid ring around the city, there is only street life, nightlife. On streets that do not end die. " This description of the night is also Jim angelina Morrison, but the tone could belong to the series of novels, "the quartet of Angels" by James Ellroy. In the physical scenery of these novels frequently appears Bido Lito's club, a dive that was where Love had their feud. Jac Holzman attended a concert there and I Love her Elektra contract, then in this amateur rock (most folk came from their catalog.) But we do not hurry and start the story at the beginning.

"Love were called but they were pure hate" Jesse Balin

he was right not to Guitarist of all Janis Joplin, although the name of all fits like a glove in the hippie imagery, the Love had more in common with the hipsters of bebop with the policy of free love or the image of good guys it was the constant in the group Californians for those days. Arthur Lee, who had emigrated to LA from his native Memphis (born 1945), held a menacing presence on stage. And rarely not smiling when he did, his smile was sardonic and threatening than friendly. The appearance of the group followed the line of the Byrds (the image of guys rolled and serious) but going beyond. They did show the drug and its bad reputation was common knowledge in the LA market. If even one of his early training was in its ranks Bobby Beausoiel (lover and actor in the films of Kenneth Anger and future member of the Manson family), which had replaced a blond surfer-looking, Bryan MacLean. And what about battery life, Don Conka, one of the best drummers in the scene, which had been supplied to the end, to record their debut album, preferring to walk entangled with the needle to touch. The training is stabilized in early 66, as follows: Arthur Lee, Ken Forssi (bass), Bryan MacLean (vocals, rhythm guitar), Johnny Echols (lead guitar) and Alban `Snoopy'Pfisterer (battery replacement last time Don Conka). Entered the study and within thirty hasty hours over two days, shaped "Love" (Elektra, 1966)

commonalities exist in the guitar work of the albums debut Byrds, Love and Captain Beefheart. In this order, each one can be considered encrudecida the previous version. The comparison between "Mr. Tambourine Man "and " Love " is simple to set up, apart from Bryan McLean had worked with the Byrds, the guitar solo " Gazing " (Love) part of a variation of McGuinn in " The Bells of Rhymney " MacLean's voice and bends in high tones at times to that of Lee, in the same way it does with McGuinn Crosby and Clark. Noise level can be set to this debut as a cross between the Byrds and the early Stones. Or how about garageros Byrds. More tough and fast, taking the sediment folk rock of these to shake with nervousness. This is so because the album was recorded in only a few sessions. That nervousness amphetamine seen since the release of "My little red book" that opens the album, Bacharach composed to be performed by the British Manfred Mann the soundtrack of "What's new pussycat?" . Almost all the rest of the disc material, virtually composed entirely of Arthur Lee, this line remains choppy and rushed, as if they jumped on the songs rather than playing them. With exceptions such as the beautiful "Softly to Me" with the lower strings guitar tone changed, the only one written by Bryan McLean that stands as a great architect melodic instrumental surf the incident slowed down is pure pre-psychedelia of "Emotions" , the delicate "A message to pretty" or dylaniana "Signed DC" (dedicated to Don Coka) the first song with a negative message about drugs, with its poignant portrayal of a junkie , full tenderness, in a time when there were many eulogies to the euphoric effects of these. In fact "Signed DC" is within a disc is not without some singing the virtues of the chemistry of the soul ( "You'll Be Following" , "Gazing" ). One of the pieces that anticipate future paths for the set is the medieval atmosphere of the acoustic "Mushroom clouds" . The Arthur's singing on this album is very new, the so called Preaching, as an evolution exhortative of the most widely spoken than sung by Dylan. It's an album well worth listening carefully, stopping to examine in detail these webs of guitars, the pair combining to guitar arpeggio McGuinn and the jingle-jangle sound characteristic of the Byrds with saturated guitars and aggressive. The influence of these ways are found even in seemingly isolated group of Love and can be Television. Discs are noisier, but few get the intense heat bouncing this album metallurgical pre punk. Gives the same charm that "Murmur" by REM compared with a similar album (false) homogeneous appearance.
After this album, Arthur, not satisfied with the work of Snoopy on drums, decided to gain the services of Michael Stuart Ware (of the Sons Of Adam, another local band) and that Snoopy is moving to keyboards. Determined to get away from the folk rock sound of their debut adds a wind musician, Tjay Cantrelli (sax and flute).

"Da Capo" (Elektra, 1967) shows a great change compared with the first record of training. The harshness of the previous garagera LP dose is lowered to cool jazz mixed with powerful rhythm & blues and soul of Curtis Mayfield light Chicagoans and Terry Callier. Remember that California was the land where they settled Chet Baker, Gerry Mulligan and the Hungarian guitarist Gabor Szabo (influence manifested by Arthur Lee on this album). Not only by the inclusion of wind instruments in its arsenal, but also pours into the complex chord changes and harmonic structures subtlety that permeates the songs. The sound has become more sophisticated over the previous album, but has not lost power, as shown by listening "Seven & Seven Is" piece crowned with a shotgun at the time of greatest roughness instrumental. One of the songs included here, "The castle" is a favorite of Robert Plant has always said the group of Arthur as one of his greatest influences. And while the influence of this particular subject is more present in Doors "English Caravan" (Or in the tuning of the Santana Flemish avant la lettre was Robbie Krieger), it is easy to assume that the contrast between the lyrical arabesques harpsichord, organ, flute and metals that give the new members to the disc, playing the contrast with other most violent sections within a song (such conflicting ways are exemplified with the delicacy with which he opens the beautiful harpsichord "Stephanie Knows Who" and abrupt halts and starts after), inspiring his music from Led Zeppelin and downs. Also the shadow of "Forever Changes" can be detected in the mist of Celtic Albion "III" and "IV"

is also an album where you can see the early influence of Latin music through jazz, nothing strange pairing since, for example, the bossa nova from Brazil to California traveled the hand of the musicians cool jazz as Charlie Byrd and Stan Getz. The rhythm of "That Life" and the same "The Castle" can serve as examples for this. The only downside to this album possible is the flip side, occupied by the insipid "Revelation" a jam of nineteen minutes inspired by the "Smokestack Lightning" Howlin 'Wolf fails anywhere. Despite having some bit interesting as Lee's vocal distortion on disharmonic accompaniment seems to precede the Stooges of "LA Blues" or moments of Afro-Latin to hard bop sax Tjay fuming.

Considered a copy of "Goin'Home" of the Stones, was actually conceived before. Some members of the British group, which was recorded at RCA studios in Los Angeles his album "Aftermath" , listened to live in the proceedings of the Los Angeles and decided to do something similar for her album. The Jagger, coming forward with the publication of his "Aftermath" to "Da Capo" and being much more popular, subtracted attached to this tour de force that was born and expired. It is fair to add that even plagiarized the idea, "Goin'Home" is much more effective than "Revelation" . A pity that he was not permitted to McLean opened his drawer and dust off some of their wonderful songs to fill this second side. The poor could only bring the delicious "Orange Skies" carnival atmosphere as well have served as inspiration for the Doors "Strange Days" . With this album not only inspired to sets as important as these, but they got away from the shadow of a derivative group and placed in its own grounds, from which its evolution seems to have no limits. Bryan MacLean




late 1968
Bryan MacLean is out of Love. The reasons for this frightened even now far from being completely open, but suggest that Lee was jealous of the excessive influence on his latest set, masterpiece "Forever Changes" , equidistant between Hendrix and Tim Buckley, poured MacLean . Lee stated that he could scarcely pull a listless group of junkies on the other hand wanted to write only motivated by royalties from the royalties, though often it was he himself who sabotaged his chances of ascending to the first division (as the frustrated appearance at the Atlanta Pops Festival 68, driven by sheer laziness) and who had limited MacLean future contributions, which would not occur, this being tempted by Elektra to record a solo album (which never could edit). If Lee was never again to shed that magic that escapes from every groove "Forever changes" the reasons may be due to the delicate balance between him and MacLean disappear.

Until then, the alliance creators had been beneficial, as apart from having other composer of the first in the group, Bryan brought his unusual musical background: Broadway, classical music, exotic musical forms that had been in contact during her "pipe" of the Byrds and a great friend of David Crosby (who later introduced the Byrds Indian influences), flamenco, etc.. Influences of Arthur Lee took note and knew resume pumping of his personality (for shows a couple of buttons: the rococo "She Comes in Colors" or fragment of the beautiful flamenco " The castle" ). " To what extent "Forever changes "Lee should share authorship with MacLean, although this" only "contributes two songs? It is difficult to pinpoint, but we can say that this album shows a perfect harmony between the two creative personalities (not to mention the very personal guitar Echols).

After that record, suffering from envy or other interests, Lee decide to take your group for other paths. Who had confirmation in single "Your Mind & We Belong Together / Laughing Stock" , trails cinematic creations where arrangements of strings and winds "Forever changes" , gave way to electric atmosphere guitar. Not to be overlooked Arthur's ability to absorb any extraneous influences and putting it to not only fully master, but also with the ease of which carry a lifetime doing it. One strength that rivals that of David Bowie, teacher in these conflicts. A simple test: if we compare the songs signed by Lee on "Forever Changes" to these samples embryonic material MacLean, find more similarities with the later material of Love, and only with Lee at the helm.

Edited by Sundazed, collections of models "Ifyoubelievin" and "Candy's Waltz" have an opportunity to review the historical memory and justice: the first disc is referred to a collection of demos of songs he composed between 17 and 21 years, showing a mature songwriter with an incredible depth to his age. We have three of the four songs that appeared on his time with Love. Among which its own version of "Orange Skies" . It's funny how the interpretation of a single letter can change both its meaning. Sung by Lee, "Orange Skies" was a joyous exaltation of feeling in love, McLean own voice note as the narrator dreams of an idyllic landscape together of his beloved, who never dare to share with the object of his desires. This final verse of "If You Should love me too " sound here with an infinite sadness. In "Candy's Waltz" find another sample of their models, most recorded in a friend's house at 82. His voice sounds as youthful as in the old days and as better than the previous LP. This material

brother of Maria McKee (Lone Justice), sadly unpublished for many years due to drug problems, insecurity, theological (he joined a Christian sect) and failed projects (s frustrated attempts to own inconstancy out solo albums on Elektra and Capitol), despite the spartan appearance with before us is as good as the songs I post with Love. With a voice that despite her high-pitched and trembling, conveys an improper maturity, moving from the first Tim Buckley ( "Blues Singer" contains a scat vocal to prophesy to the stem of this, Jeff Buckley) and Bert Sommer ( "The road we travel" the former member of Left Banke and Montage). Too bad that his problematic existence robs us of an artist of such caliber, who died in 1998 by a cancerous disease.

"I never felt magic as crazy / I never saw moons conocieranel meaning of the sea / I never had the emotion in the palm of the hand / Or felt sweet breezes in the top of a tree / But now you're here / Brightening my northern sky "Nick Drake



History rock official has relegated the rest of the career of Arthur Lee to forget, considering it a drag of a glorious past. While it is true that never again give birth a work of the height of "Forever Changes", not Orson Welles returned to shoot something that shocks the world so as film "Citizen Kane" and by no means subsequent films cease to be masterpieces. While acknowledging Love it themselves dodged every opportunity to reach stardom. They were good friends to test and when they got together was to go out partying and doing drugs in the company that issues professional. His refusal to leave his kingdom in LA to act either positively affected. Moreover, they sometimes hired outside the usual circuit and did not attend the performance last time committed (and even Arthur came to warn of danger of bomb in a gambling club with the sole intention of squares). This neglect led to poor planning and lack of concert promoters, forcing the group to an activity in scattered performances road, with plenty of time between bolus and bolus. Best for a group that, except for Lee himself, had fallen into the clutches of heroin. So, after the release of "Forever Changes" gave a short tour and the group scattered. Arthur wanted to continue with other musicians not so problematic.

jamar Released from his companions and decided once and for all to make it big, knowing possession of a talent with nothing to envy to Jim Morrison and Jimi Hendrix, Arthur reform to Love and looking for a label that he bet on because Elektra has turned decisively in the projection of the Doors. Composed 26 songs and is allied with unknown musicians like Jay Donnellan (Guitar), Frank Fayad (bass) and George Suranovich (drums) who belonged to a local band of Noony Rickett, who two years later would work with Lee (playing guitar and doing vocals in almost all "False Start" .) Find a new firm, Blue Thumb label but will be even a record contract with Elektra. So the solution is to provide compositions that Elektra fell swoop and that this select ten to complete the damn album, the rest were devoted to his new label. Said and done. Ironically, Arthur proposed title with the name of the famous Cole Porter composition "Love For Sale" , in a double reference to prostitution (in this case label) and literally as " Love, sold ." No school, but then I re titled as "Four Sail" (Four sailing), which is pronounced in English the same way that "sa For you." This time, he gets his way, giving the finger to his former label.

has been too harshly criticized this change of direction and has even questioned the musicianship of the musicians in this new venture. Arthur Lee go for a tougher sound in tune with the times running, given the popularity of the bands that his group had helped define their rock nervous and multifaceted pop foreshortening is a legitimate act. Since they had taken note of his achievements formations British hard rock blues began to succeed as Cream and Led Zeppelin, all the psychedelic movement in San Francisco and even their expansive ways influenced the progressive groups. Anyway, this "Four Sail" not so far from their first two albums: the games are still intertwined guitars, pseudo-psychedelic flights now more baroque dream which, based on developments crystalline hypnotic guitar and his ability to create atmospheres. After so much pessimism in "Forever Changes" , here the tone, both musically and lyrically, is much more optimistic on this fourth album. And while away the strings and metal, including songs that extend the spirit of "Forever" , only the location of the orchestrations is replaced by the guitar's own Jay Lee and Donnellan (underrated musician), as folk grafts from the previous album are replaced by the harder sounds that preceded the group's discography. Without going into invidious comparisons, Love never sounded so resilient and agile. I doubt that the former members of the group had been providing to all of these ways expansive. In fact, previous Love had taken advantage of their limitations as musicians. The group did not have a drummer as abrasive as Keith Moon and guitarists able to avert electrical oceans as Townshend and Hendrix, but had managed to compress the energy of a Who in "Seven & Seven Is" . If they had to distort the bass line Forssi to achieve an effect similar to the hubbub of a rhythm like Entwistle-Moon, as it did. And even record the sound of a shot to match the heat of feedback from Pete!

"Four Sail" published in 1969, is a superb LP, with little known gems like "August" , "Singing Cowboy" (the only one whose composition Lee helps another member of the band, Donellan) that looks like the template that bands like Ocean Colour Scene write all their material, swing "Good Times" or more reminiscent of previous album "Always See Your Face" piano (played by Lee) and French horn arrangement. Despite the new direction, not so far from his previous work, although simplified, similar to what "Friends" represents for about Beach Boys "Pet Sounds" . At a time virtually all the major groups were tending towards the same restraint or to the roots of rock (the discs recorded in Nashville by Dylan, the Beatles' white album, the country rock formations augue like The Band and Flying Burrito Brothers, the Stones experiments and turning away from rock, to name a few examples).

The remaining compositions were prepared to add seventeen, published in the double album "Out Here" (1969) and on Blue Thumb, with the same alignment. Realising the miracle of Love repeat the same line from one disk to another. Although his new label will press them to recover the previous training. Arthur I try: Forssi together, Echols and Michael (all except Bryan). Even bought new instruments for the first two who had sold his to finance his addiction to heroin. But after the first concert, and Echols Forssi insisted their instruments to get more drugs. And Lee followed with musicians "Four Sail" to end "Out Here"

The result is another album unfairly ignored. Although as a double album is comparable to other major works in this format and a handful of surprises awaits inside: experiments country rock of "Abalony" and flavored with gospel, of "I'll pray for you" , the new version and hardened bluesy "Signed DC" where those lines of " My soul belongs to my camel / No one cares " sound more pained than ever, gently touching folkie of "Listen to my song" , between the style of his former teammate MacLean (including vocal tone seems to belong to it) and Incredible String Band as autumn as a bird migration, that body distorted by a Foot "I'm Down" , "Discharge" which look like the Kinks cabaret playing a march (anti) military delights cut by a pattern of sunny pop and Latin rhythms "Still I wonder" , which could be Stephen Stills (discard the "Forever changes" ) or "Nice to be" with some similarities to the Byrds "Notorious Byrd Brothers" , folk "Car light on in the daytime blues , remembering the music starts imitating Booker T. in "Instramental" , catchy pop "You are something" with a guitar that seems taken from "If WAS six nine" Hendrix or two long jams that contains the disk We offer a lime, the acid "Live is more than words and Better Late Than Never" , twelve minutes of epiphanic thunderstorm and a sand, "Doggone" , beautiful song unbearably violated by a drum solo that as it is treated, it may sound from under the water.

His last album with Blue Thumb "False start" (December 1970) is usually name only contain the help of Jimi Hendrix on the song that opens, "The everlasting first" , once a the first posthumous recordings that exhumed the musician (who died That September). Arthur and Hendrix had recorded a session in the summer of 69 for a future duet album. It is their weakest album, but it's worth, other than to contain the ghost of the deceased that spreads through the rest of its content, making the disc more Hendrix of Love (Arthur seems possessed from beyond the voice and another mulatto guitar), to bring in wonders as "Slick Dick" where he continued his experiments with the country rock in a song in just three minutes passed from the meadow to the purple fog that ooze a fierce guitars "Ride That Vibration" that begins with a riff to Lou Reed, passes stumbled on such a delicate melody Hollies and ends with a orgy of distortion and howling to Jim Morrison circa "LA Woman" . While the rest, though worthy, is not particularly memorable.

AM Records in 1972 signed a contract with Arthur Lee for a single disc, entitled "Vindicator" and bizarre (and ugly) cover, but incendiary content. Arthur Hendrix sounds more than ever, more so than in "False Start" , forming a hard rock album accompanied by the powerful guitar of Charlie Karp. Work the following year in another solo album ( "Black Beauty ") that would never appear. It was the first album "cursed" the leader of Love. after "Forever Changes" the same training material recorded for an album tentatively titled as "Gethsemane" (like the famous garden where Judas gave the kiss of death to Jesus) of which only appear to the single "Your Mind ... / Laughing stock ". There is another Lee lost record "More changes" which would later appear a demo recorded in 1977. In "Black Beauty" you can find a sample in a pirated album collecting material from that album ( "Midnigt Sun" with Jay Donnellan arson, a rewriting "Always See Your Face" , reggae humorous "Beep Beep" ) as well as pre-material of Lee and Love a recording of 94 of "fathered Fish" , the song that gift to Sons of Adam, with Baby Lemonade. Unsigned

after "Vindicator" next studio album as Love, "Reel To Real" not appear until 74 (in Robert Stigwood's label, RSO) and disengages us from the back with Arthur Lee shaven zero and dressed in Shao-Lin monk. And surprised first when compared to the rest of the trajectory of the group, but a very enjoyable album. In it, Arthur puts on the boots of Sly Stone and Maurice White to create a work of primarily black music of the moment: funk, soul, Philadelphia sound, female vocals, winds Latino "Forever Changes" are now soulful, seventies synths if he even listened to falsetto! The amount of musical styles in which this man could be totally convincing! He can blame his desire to get into the wave instead of offering a more personal work, but not its quality. Songs like the one that opens the disc (with an intro spoken to Barry White), "Time is like a river" , interference from outer space guitar "Which witch is which" , "Who are you" that could be composed of the aforementioned leader Earth Wind & Fire, the new reading of "Singing Cowboy" , "Good old fashion dream" where it looks like Otis Redding recorded for Hi Records, the southern soul baladón "Stop the music" or reading his tremendous song William Vaughn "Be Thankful for What You Got" (in the 90 version Massive Attack) are excellent. And among the shreds of new clothes to wear now that King Arthur, we find ourselves with ancient figures still remaining (Hendrix in that "Which witch is which" ) or acoustic ways rescued " Vindicator "; " Everybody's gotta live ". The vocal chameleon who is Lee continues to surprise, if in the process leading from "Four Sail" to "Vindicator" driving down pat vocal mannerisms of a great singer of hard rock, here shows he has an equal voice from ductile to more sinuous soul, showing her sensuality voice that had never used. On the album, is accompanied by a series of accompanying musicians who can not be grouped under the label of new formation of Love. Amongst them the superb work of guitarist Harvey Mandel (of Cannet Heat, who were opening for Love in the 67)

"The poet is the priest of the invisible. The young poet is a god, a homeless old poet Wallace Stevens



The eighties he spends virtually fallow. A terrible second solo album in 82, entitled to its name, with hints of reggae quite unfortunate (insipid version of "So many rivers to cross" included). Christian becomes reborn as his former teammate McLean. Nothing important to that already in the 90's, the French label New Rose was rescued from oblivion (as did the same label with other big losers of rock like Alex Chilton). With such signature appears his latest album Love, but signed as Arthur Lee & Love, "Five string serenade" (92). A smaller disk, but with gems like the title of the album, which seems as good a discard of the sixties, "Somebody's watching you" (with an organ riff stolen from the Seeds) and experiments as the frenetic "The watcher" which sounds like something from David Bowie Berlin and the funk of Talking Heads. At least not repeated. In 1994, his last recording appear new, a single name of Love with "Girl on Fire" and "Midnight Sun" (rerecorded ransom sessions with Hendrix, it shows its origin from the sound stale and needle resting on the vinyl that opens).

He looks eager to continue his career, but at 95 he was arrested for opening fire on a public road, had fired into the air after persistent complaints from a neighbor because of the high volume of your stereo and after accumulating three penalties (possession drugs and illegal entry into the apartment of a former girlfriend last year) was imprisoned. Spends six years in prison to eight convicted. Hits the streets in 2001 and together with the band Baby Lemonade angelina is dedicated to playing its full turn "Forever changes" and other material Love. The tour is a success both artistically and in public. Edit a live food with his magnum opus performed live with orchestra, which notes his good form on stage but does not add anything new. Much better catch a good pirate of those tours where the orchestral parts are supplied by guitar drones, returning to the orientation of the single "phantom" "Your mind and ..." / "Laughing Stock" .

It is eager to record new material since, although served in dropper, good material has been published in recent decades, their reunion with Ken Forssi (which gave up for dead) and members of Reigning Sound to prepare new songs is great news. Unfortunately his health is poor. Diagnosed with leukemia and died in his Memphis home, on August 3, 2006, at 61 years of age.