Love
Band members Related acts
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- Sherwood Akuna - bass (1974-75)
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- The American Four
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Rating: **** (4 stars) Title: Love Company: Elektra Catalog: EKS-74001 Year: 1966 Grade (cover/record): Comments: Available: 1 Price: $
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Arthur Lee and Love are one of rock's biggest mysteries. Enormously talented, the group recorded several era classics, but ongoing personnel changes and Lee's own eccentric behavior
effectively limited the group to the status of cult classics. |
Rating: ***** (5 stars) Title: Da Copa Company: Elektra Catalog: EKS-74005 Year: 1967 Grade (cover/record): Comments: Available: 1 Price: $
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1967's "Da Capo" found Lee and company stretching out, incorporating woodwinds (courtesy of Tjay
Canrelli), orchestration and state-of-the-art production values into the mix. Epitamized by material such as "Orange Skies", "7 & 7 Is" and "She Comes In Colors" the album featured a distinctive psychedelic
sound. Ironically, when The Beatles duplicated the approach on "Sgt. Pepper" they were
greeted with acclaim, while some critics branded Love as snobbish sell-outs (somewhat understandable after you listen to the pompous sidelong "Revelation"). Faltering at #80, the set proved a minor commercial disappointment. Moreover, adding to the group's ongoing problems, Cantrelli and drummer Pfisterer quit, Michael Stuart assuming drumming duties. |
Rating: ***** (5 stars) Title: Forever Changes Company: Elektra Catalog: EKS-74013 Year: 1967 Grade (cover/record): Comments: Available: 1 Price: $
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Whereas Lee had always been the band's front
man, with
"Forever Changes" he assumed dominant control; co-producing with Bruce
Botnick. Lee was also credited with arranging, writing nine of eleven cuts
and handling vocals on all but two tracks. Somewhat slicker than the previous release, the collection found the band diving headlong into
psychedelia. Propelled by suitably quirky material such as "Maybe the People Would Be the Times of Between Clark and
Hilldale", "The Good Humor Man He Sees Everything Like This" and "Andmoreagain" (you didn't have to work too hard to wonder what illicit chemicals they'd been ingesting), the collection went a long way to reinforcing the band's growing reputation as FM and underground favorites. Interestingly, MacLean's two contributions ("Alone Again Or" and "Old Man!") were among the highlights. Unfortunately, in spite of generous reviews (many critics labeled it the band's best offering), the album failed to sell, unable to climb higher than #152. |
Rating: **** (4 stars) Title: Four Sail Company: Elektra Catalog: EKS-74049 Year: 1969 Grade (cover/record): Comments: Available: 1 Price: $
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Thoroughly frustrated with the lack of widespread commercial success, Lee fired the rest of the band, recruiting a new lineup composed of guitarist Jay
Donnellan, bassist Frank Fayad and drummer George Suranovich. Released in late-1969,
"Love Four Sail" could have been a Lee solo effort. In addition to producing and arranging, Lee composed all ten tracks
(Donnellan credited with co-writing "Singing Cowboy (coincidently the set's best track)). Suitably eclectic, the album found Lee bouncing all over the musical spectrum. With much of the set reflecting a laidback,
pseudo-jazzy feel ("I'm with You" and "Good Times"), "August" recalled the band's earlier psychedelic leanings, while "Your Friend and Mine - Neil's Song" was an oldies-styled shuffle. Again, there was no denying Lee's talent, but the set was simply too quirky to be considered a major artistic success. Adding to Lee's problems, with the album stalling at #102, Elektra decided to drop the band. Lee quickly signed with Blue Thumb. |
Rating: ** (2 stars) Title: Out Here Company: Blue Thumb Catalog: BTS-9000 Year: 1970 Grade (cover/record): Comments: double album; gatefold sleeve Available: 1 Price: $
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More than a little optimistic about the band's commercial chances, Blue Thumb didn't hesitate to shell out some big money for the group's label debut. Self-produced,
"Out Here" offered up a 17 track, double album set. Musically the set was somewhat of a hodgepodge, pulling together a mixture of new studio efforts ("Stand Out" and the non-too-subtle drug
paen "Signed D.C.") and material originally planned for inclusion on the previous studio set. Largely abandoning their earlier sound, extended numbers such as "Doggone" and "Love More Better Than Words" found Lee and company opting for what was almost heavy metal. Taken in small bits the results weren't bad ("I'll Pray for You" and ""), but stretched over four sides and clocking in at over an hour, one was left begging for relief. Faltering at #176 the album continued the band's commercial decline (curiously, the set managed to hit #29 in England). (The collection was originally released with a gatefold sleeve.) As was to be expected, the set was following by another personnel spasm; drummer Suranovich being replaced by Drachen Theaker (formerly of The Crazy World of Arthur Brown), who was in turn replaced by the recently departed
Suranovich. |
Rating: **** (4 stars) Title: Love Revisited Company: Elektra Catalog: EKS-74049 Year: 1970 Grade (cover/record): gatefold sleeve Comments: Available: 1 Price: $
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With the band having switched to Blue Thumb, 1970's
"Love Revisited" was a clear effort by Elektra to recoup some of it's sizable earlier investment. Drawn from the band's four Elektra studio sets, the 13 tracks were pretty darn impressive. Hearing material such as "Softly To Me", the meltdown guitar powered "Your Mind and We Belong Together" and "Signed D.C." one had to wonder why these guys remained virtual unknowns. Hardly a commercial breakthrough, given the fact most of their catalog was already out of print, the collection was worth tracking down. Inexcusably the set only reached #142. (The album was originally released with a gatefold sleeve.) |
Rating: ** (2 stars) Title: False Start Company: Blue Thumb Catalog: BTS-8822 Year: 1971 Grade (cover/record): Comments: Available: 1 Price: $
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Aptly titled, "False
Start" provided the group's second and final release for Blue Thumb. Written, producer and arranged by Lee, the result might as well have been a solo effort;
Fayad, Rickett, Rowles and Suranovich reduced to little more than a background role. Musically the set was fairly varied, bouncing from Jimi Hendrix-influenced metal ("Ride That Vibration" and the live "Stand Out") to pop
("Gimi a Little Break" and "Keep On Shining"). Elsewhere, "The Everlasting First" was notable for including one of Hendrix's final recording
appearances. (The album was originally released with a gatefold sleeve.) Peaking at #184, the set was a commercial disaster, Lee promptly firing the band. |
Rating: ** (2 stars) Title: Real To Reel Company: RSO Catalog: RS-4804 Year: 1974 Grade (cover/record): Comments: Available: 1 Price: $
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After a three year break, during which time he released a solo album (see separate entry), Lee reactivated Love. With assistance from bassists Sherwood Akuna and Robert
Rozelle, drummer Joe Blocker and guitarists John Sterling and Melvan Whittington the band signed with Robert Stigwood's RSO label. Unfortunately, in an era of disco madness, Lee's decision to stake out an R&B-cum-soul stance, as well as his ongoing penchant for '60s psychedelia ("Which Witch Is Which") fell on deaf ears. In spite of some nifty moments (the bluesy "Stop the Music," "Who Are You" and the Stax-infuenced "Good Old Fashion Dream"), 1974's
"Reel To Real" proved a complete artistic and commercial flop. Shortly after the album's release the new Love disbanded. |
Rating: *** ( 3 stars) Title: Love Studio/Love Live Company: MCA Catalog: 27025-1 Year: 1982 Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Price: $8.00
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Released by MCA, 1982's "Love Studio/Love
Live" was an odd package. Drawn from the band's
early-'70s Blue Thumb catalog, the eight studio selections actually
represented Lee and company at their creative nadir (okay, maybe the RSO
album was worse). It was almost fitting
that the standout track wasn't even a Lee composition. Written by
drummer Jay Donnellan, "I Still Wonder" sounded like it was drawn from
the band's 1966-67 recordings and served as the set's highlight. At least
worth hearing were Lee's bouncy "You Are Something to Me", the
freak out guitar segment in "Love Is More Than Words (Or Better Late Than
Never)" and the somber Dylanesque (always wanted to use that word) "Gather Round". The four live selections
represented previously unreleased material drawn from performances at the Fillmore
East. To be honest the live performances were a disappointment. Lee and company weren't bad, just
came off as surprisingly pedestrian and faceless rock band. By the
way, it was interesting to see - Jay Donnellan's writing credit was
dropped from "Singing Cowboy". (Also nice to see MCA investing so much time and care in the cover art ...) |