Love: Forever Changes (Rhino Replicas Edition) CD Track Listing

A list by checkmate

Love Forever Changes (Rhino Replicas Edition) (1967)
Forever Changes (Rhino Replicas Edition)\n2006 Warner Bros./Rhino\n\nOriginally Released 1967\nCD Edition Released 1987 ??\nRemastered + Expanded Special CD Edition Released February 20, 2001\nRhino Replicas Mini LP CD Edition Released December 26, 2006\n\nAMG EXPERT REVIEW: It wasn't a hit, but Forever Changes continues to regularly appear on critics' lists of the top ten rock albums of all time, and it had an enormously far-reaching and durable influence that went way beyond chart listings. The best fusion of folk-rock and psychedelia, it features Arthur Lee's trembling vocals, beautiful melodies, haunting orchestral arrangements, and inscrutable but poetic lyrics, all of which sound nearly as fresh and intriguing upon repeated plays. One of rock's most organic, flowing masterpieces, every song has a lingering, shimmering beauty, including the two penned by the band's other talented songwriter/guitarist/singer, Bryan MacLean. [The 2001 expanded reissue on Rhino adds seven bonus tracks: the 1968 single "Your Mind and We Belong Together"/"Laughing Stock," the genuine Forever Changes outtake "Wonder People (I Do Wonder)," the demo "Hummingbirds" (essentially an instrumental version of "The Good Humor Man He Sees Everything Like This"), and alternate mixes of "Alone Again Or" and "You Set the Scene." These really aren't too essential, the best of the lot being "Wonder People (I Do Wonder)," a lighthearted number that's somewhat similar to "Maybe the People Would Be the Times or Between Clark and Hilldale" (which did end up on Forever Changes). The alternate mix of "You Set the Scene" has a few interesting additional vocal interjections at the end, but the different mix of "Alone Again Or" is diminished by awkward edits of the instrumental passages. The 24-page booklet of historical liner notes is a good addition, though.] -- Richie Unterberger\n\nAMG EXPERT REVIEW: There's a certain school of thought that considers Love's Forever Changes to be as great an album as Sgt. Pepper, and it's not that hard to agree, since the Los Angeles band summed up the beautiful hippie vibe of '67 better than Beatles whimsy. Plus, the group turned in a marvelously idiosyncratic album that sums up the feeling of that year perfectly, while feeling tremendously out of time -- a saga of peace, love, and understanding that transcends its time by being so thoroughly of it. Forever Changes is essential listening, whether in its original incarnation or part of Rhino's wonderful double-disc Love Story or the label's deluxe 2001 reissue. The reissue is augmented by two alternate mixes, an outtake called "Your Mind and We Belong Together" (illuminated by studio breakdowns and chatter), a demo of "Hummingbirds," the outtake "Wonder People (Do I Wonder)," and "Laughing Stock." The bonus tracks are really only interesting to the unconverted, and they couldn't really change the character of an album that's so dense and fascinating on its own that it's impossible to better. Still, these are wonderful additions for the dedicated, and even if they're not necessary, they're welcome. And the fact remains -- anything that brings an audience to the most universally acknowledged underappreciated classic is welcome, even if the basic original album makes a case for its greatness as much as this, and the bonus tracks are simply something for the diehards. -- Stephen Thomas Erlewine\n\n\nAmazon.com Editorial Review\nOne of rock's most overlooked masterpieces, this third album by the L.A. folk-rock outfit led by inscrutable singer-songwriter Arthur Lee sounds as fresh and innovative today as it did upon its original release in 1968. With David Angel's atmospheric string and horn arrangements giving the work a conceptual underpinning, Lee explores mainstream America's penchant for paranoia ("The Red Telephone") and violence ("A House Is Not a Motel") with songs that are as sonically subtle and lilting as they are lyrically blunt and harrowing. Add two gems by Love's secret weapon, second guitarist Bryan MacLean ("Alone Again Or" and "Old Man"), and you've got one of the truly perfect albums in rock history. Rhino's deluxe reissue serves up seven bonus tracks, including outtakes, alternates, and the "Your Mind and We Belong Together"/"Laughing Stock" single. --Billy Altman \n\nAMAZON.COM CUSTOMER REVIEW\nChanges forever, yeh. . . Arthur Lee's LA masterpiece , April 3, 2007\nReviewer: J. Gunning "Allhallowsday" (Midst the Oaks of SRH)\nOne must be in the right frame of mind for LOVE's unique album Forever Changes. It's all breezy guitars, lush orchestrations, Tijuana brass, no real hard rock, and haunting tunes woven together into an eerie semi-arid urban tapestry that demands and requires your attention. I had special-ordered this legendary record decades ago on vinyl (it never went out of print). Listening to this LP at 18 or so, about 10 years after its release, I was not yet sophisticated enough to appreciate the musical depth. I was listening to the New Wave, and an old hand at 60s and 70s Rock, and at the time was bored by it. Now I realize Forever Changes is simply a beautifully realized personal statement (Arthur Lee's) including his comments upon being a black man in a largely "white" subculture - L.A.'s acid-rock, country-western, and psychedelic bands, particularly those bands playing at the Whiskey-A-Go-Go - plus his own passion for that city (he later said he felt the songs were about his expected impending death - which has yet to happen). A real summer night driving record, LOVE Forever Changes is a sultry delight, a relic and microcosm, a time capsule and breaking chrysalis . . . this is a great, tuneful record of happenstance, almost outsider-art for its lack of significant commercial success, and may possibly be one of your undiscovered loves. \nThank goodness for Elektra who not only discovered Detroit bands THE MC5, and THE STOOGES, but particularly Whiskey-A-Go-Go bands like THE DOORS and LOVE. Thank goodness for RHINO re-issuing Forever Changes with the bonus tracks (including "Hummingbird" and LOVE's last single "Your Mind And We Belong Together" b/w "Laughing Stock.") \n\n\nAMAZON.COM CUSTOMER REVIEW\ngreat bonus tracks, February 21, 2001 \nReviewer: mauro j felipe from n.y., new york United States\nthis review is intended for those already in the know. thus, i will only deal with the unreleased stuff here. first of all, i feel the bonus material is a revelation and reason enough to purchase this cd (as if the improved sound of the original disc weren't reason enough). the first bonus track, "hummingbirds", is a da capo era outtake. it amounts to an instrumental demo of "the good humor man..." the stripped down 2 guitar and bass instumentation really brings out the subtleties of the tune. the guitar playing is great and you get to hear a little arthur quote at the end of the demo. the next track "wonder people (i do wonder)" will be familiar to the owners of arthur lee's 1981 self titled album on rhino records. while this song sounds a little less polished than the cuts that made the official "forever changes" album, it is still an nice listen. arthur's vocal is pretty flat, but then again this isn't finished product. maclean's acoustic soloing really shines on this track as well. the "alone again or" alt. mix is, unfortunately, not the maclean lead vocal mix i was hoping for. apparently, that mix has been lost. the next track is an alt. mix of "you set the scene" which features a previously unheard vocal out section during the last minute of the song. it doesn't improve the song, but is interesting none the less. now on to the "your mind and we..." tracking sessions. this stuff is great. lots of arthur lee instructing his band on how to perform the song, take after take. it's cool to hear arthur's instructions as the song slowly comes together. eventually the band gets through the tune but echols' solo is not "on". arthur asks him what his trip is.. and the solo is cut again. later on the cd, at the end of the 45 version of the tune, you can hear arthur congratulating echols on a great solo. as a side note, i once read that nobody in love besides arthur lee could verify if they had personally played on "your mind and we...". after 44?!?? takes you'd think SOMEONE would remember this session. blame it on the brown acid i guess. so that's it folks. i highly recommend these bonus tracks, as they've given me a new insight into the creative process behind this must own cd. enjoy.\n\nAMAZON.COM CUSTOMER REVIEW\nForever Love, March 14, 2002\nReviewer: Robert Cossaboon "devil doll" (The happy land of Walworth, NY)\nI love this album! It's gorgeous: completely, utterly and absolutely. It's one of the most perfect pieces of music ever committed to tape, vinyl or CD. Out of all the summer of love albums to have come out, this is the one that strikes the strongest chord of kinship inside me. I don't know what it's like to have cavorted about in dippy-hippy peace, man style, but I DAMN sure know what it's like to be lonely and to be the man who sees things from the outside. \nBut do not be fooled. This is not a sad album in any way. Like how that totally awesome album cover portrays, it is life itself, a swirling menagerie of colors, moods and emotions. Can anyone doubt this after the way the first song, "Alone again or" begins with that quiet accoustic guitar and then knocks you right out in the middle with that majestic horn solo?\nThroughout the album, our singer is sad, but never downtrodden. There is a perkiness even in the really delicate songs like "Andmoreagain" and "The Good Humor Man He Sees Everything Like This"-the latter one of the most gorgeous songs about summer ever written. Even with the two rockers, "A House Is Not A Motel" and "Live And Let Live", the mood is subdued, the anger is controlled and aimed carefully like a pointed finger.\nThen there are the really bubbly songs: "Between Clark and Hillsdale" makes you want to cha-cha past your own local bunch of sidewalk stores right after you get out of work while there're still a couple hours of summer sun left; and "You Set The Scene" has to be one of the greatest signature songs of the era. It's one of those majestic march of life songs. Our singer, even in his darkest moment of loneliness where he is talking/longing to an old photograph of a girlfriend (and who among us has never experienced this?), is able to rally an existential optimism of being part of a greater whole-life. Well, when you listen to the song, you see what I mean.\nDo the bonus tracks do it for the album? Yes, and no. They do not in manner flaw the original integrity Forever Changes, I'm just not sure if they enhance it that much. "Hummingbird" is excellent, because we see something already great on its way to greatness. "Wonder People" is intersting, because it's an outtake and you have to wonder how many of those are still floating around. "Laughing Stock" is a pointless addition; I never liked that song very much in the first place. "Your mind and me belong together" is noteworthy because it was the last song the Forever Changes lineup recorded before they disintegrated into memory. The guitar solo is pretty cool, but once again it does nothing to enhance the album. As for the remixes, I can tell no difference, except for that bizarre rap sequence they tagged onto the alternate version of "You Set The Scene" and the couple extra seconds of strings at the song's end.\nHaunting, eerie, chirpy, and bubbly Forever Changes is never a let-down; only after that final horn section marches off from your ears do you feel the come-down. \nRolling Stone said it the best: Forever Changes is "indescribably essential".\n\n\nAMAZON.COM CUSTOMER REVIEW\nFear And Loathing, April 14, 2007\nReviewer: Mr. H. C. Orr "Lhasa Apso/Terrier cross" (Sleeping outside at night)\nThe 60s were as much about fear and loathing as peace and love. Great music from the 60s reflects both these trends. Los Angeles-based Love's third album, "Forever Changes", was released in 1967, in the wake of The Summer Of Love. Whilst Hollywood remained largely silent, West Coast artists such as Jefferson Airplane, The Grateful dead, frank zappa, The Doors and Tim Buckley produced works that often dealt with the dark side of the American Dream: Airplane satirised, Zappa mocked, but all sensed that something was changing, and indeed had to. Love's "Forever Changes" is one of the overlooked masterpieces of 60s pop music: themes of beauty and death combine to create one of the most compelling cocktails of dread and wonder in all pop music. The apocalyptic vision of "AndMoreAgain" stands for the entire album: a promise of fragile Elizabethan beauty at the same time as a Karmic threat that what we experience in this life shall follow us forever. \n\n\nAMAZON.COM CUSTOMER REVIEW\nForever Changes: rock perfection, Los Angeles frozen in time, November 11, 2006\nReviewer: R. Lindeboom "theboomer" (Cambria, CA USA)\nAs some here have said: Love was Jim Morrison's favorite band and it was Love's Arthur Lee who convinced Jac Holzman to sign The Doors to Elektra Records. After the Beach Boys swam ashore for a rest and before The Doors would break on through to the other side, there was a magical time in Los Angeles where The Byrds, The Music Machine, Love and The Mothers of Invention ruled the city's airwaves. I saw each of them many times and one night I saw what I still consider to be the ultimate Los Angeles concert line-up: The Byrds (on their "Younger Than Yesterday" tour), Love (touring "Forever Changes") and Sweetwater, (who had just released their first, self-titled album). It was an amazing night and one I will always be grateful to have been in attendance at. This album, Forever Changes, has now been played so many times that it long ago attained legendary status and generations of listeners now attest to the power, mysticism and beauty of this album. Born out of the heartache and confusion of an Arthur Lee who felt that he would soon die, it addresses topics that few rock albums have ever had the courage or forthrightness to explore. A friend of mine once told me that when he listened to this album he felt that "God was talking to me." I smiled when he said that as I had had that same thought more than a few times over the years. But it's not the God of a religious piety so saccharine that it will give you cavities; no, this is the naked and brutal mortality of man wrestling with his fears in the face of a blinding timelessness and scope he cannot understand nor feel comfortable in the presence of. It is at times, frightening and starkly bleak and nihilistic in its view. At other times, it is as hopeful as a butterfly springing with brightly colored wings, fresh from its insular cocoon. But it's always done with a freshness and vitality in the music that was purely Los Angeles and which never happened again, anywhere or anytime else. If I were to cull my thousands of albums down to just a handful, this would be one of them. There are few albums that were ever this good. Love was unique and will always be. I once met Arthur Lee at a hot dog stand in Los Angeles where we were both having lunch. He came up and sat next to me and I looked over and realized who it was and said: "Hello, Arthur." He looked back and smiled a very shy smile and said "Hello." He was quite friendly though very shy. He was kind. I know from books and comments of ex-band members that he was not always that way but I think his art haunted him and he fought hard for his songs and his craft. The battle within him was never so starkly realized or communicated as it was on this album. Farewell, Arthur, I hope that you found peace, at last.\n\n\nAMAZON.COM CUSTOMER REVIEW\nOne OF Arthur Lee's Finest Moments, June 16, 2006\nReviewer: Richard S. Ledford "Swing Out Fan" (Provo, Utah)\nI bought the expanded / remastered version of this C.D. a couple of years ago. It contains extensive liner notes (which I still have not read). I wanted to write this review before I read the liner notes so I would not be biased or influenced in my own comments toward the album. \n\nForever Changes (January 1968) is truly one of the unique, hidden gems of the late sixties by one of rock music's first racially integrated bands. I was first exposed to the album in 1969 when my older brother used to play his copy on eight-track tape! Love's previous album from 1967, Da Capo, was lighter and more "trippy," and in keeping with other music from the "summer of love" year. Check out such tracks as 7 And 7 Is, Orange Skies and She Comes In Colors. However, while Da Capo was a great album, Forever Changes is OUTSTANDING! It resulted in Arthur Lee's finest musical and lyrical moments. Even today you can hear the song, Alone Again Or, played on satellite stations in malls across America (although Alone Again Or was written by Love's other vocalist and songwriter, Bryan MacLean who wrote two tracks on the album). \n\nForever Changes is a "deep" and moody album with esoteric, surreal and socially conscious lyrics which cannot be thoroughly understood. Even some of the song titles have a surreal quality to them. Some of the topics expressed in the lyrics include war, materialism, territoriality, alienation, loss of individuality and identity, personal freedom, sage wisdom and yes, even love (no pun intended)! Vivid lyrical imagery permeates all the songs. \n\nMusically, the album is a melange of psychedelic folk-rock, classical forms and even a tinge of jazz. The melodies are hauntingly and wistfully beautiful with both acoustic and electric guitars as well as complex rhythms at times. In fact, the fade-ins and fade-outs and production effects at the end of "The Good Humour Man He Sees Everything Like This" sound like there are "skips" in the music! The strings and horns add to the haunting quality of the album. This is a great album to listen to on rainy, summer days! \n\nThis album rates with some of the finest albums of the day, including Sgt. Pepper's..., Pet Sounds, Days Of Future Passed and Odessey And Oracle. If you haven't heard this album you have missed out on a significant slice of pop culture!\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe Emperor's (Old) Clothes, December 1, 2003\nReviewer: R. Potter (Buffalo, NY USA)\nLet me start by saying that this is a good--a very good--album, and one that was certainly underappreciated for the better part of 20 years. But it's -not- as good as its cultists suggest, and here's why.\n1) Focus. I realize that one of the joys of FC is its scrambled, wandering quality, but too many cuts here lack musical coherence. Dynamics shift without apparent purpose, and several songs squander their tension before accomplishing anything. It's the kind of mistake a second-string psychedelic band like Cream made a lot, and that a first-string band like the Beatles seldom did.\n\n2) Vocals. No truly great rock album can be made without pretty darn good singing, and the albums to which FC is most often compared--Sgt. Pepper, Pet Sounds, Odessey and Oracle, Volunteers, Five Leaves Left--all highlight exceptional vocalists. Arthur and Bryan are capable enough within the bounds of a certain style, but it's very mannered, and it wears: it's the kind of portenteous folkie-troubadour intonation that you get with the early Tim Buckley (or the early Justin Hayward) and loads of lesser schleps like Scott McKenzie. The singing on FC generally lacks variety, subtlety, power, and insight; when it works, it does so by not intruding too much on the music.\n\n3.) Lyrics. FC's lyrics, heard out of context, might well be taken for a -satire- of high psychedelia rather than its best expression. While fans of the album make much of its songs' lyrical swings from sunny to morbid and back, Arthur's reach-for-the-rhymes technique frequently feels both contrived and incoherent, rather than cosmic. Sometimes there's not a whole lot separating the lyrical content of FC from that of, say, an average Strawberry Alarm Clock record.\n\n4.) The "Grab Factor." Even the sprawliest and most difficult psychedelic masterpieces (see above for some suggestions) have a solid handful of songs that stick in the mind from the get-go and demand to be listened to again and again RIGHT NOW. With the exception of "Alone Again Or" there's not a single cut on FC that's a standalone, world-class attention-getter. The album relies on texture and cumulative effect for its impact, which is all well and good, but it hardly cries out to be called the stuff of genius.\n\nAgain, I should point out that I do like this record quite a bit. But I think some of the rabid excitement that surrounds it has more to do with its long period of relative obscurity and the fact that Arthur Lee (like Alex Chilton and Roy Wood) is the kind of f'ed-up, eccentric, manque talent that rock geeks never tire of "rediscovering" and "vindicating." Buy FC? Absolutely. But don't count on it to change your life.\n\n\nAMAZON.COM CUSTOMER REVIEW\nOne of the Best Rock Albums Ever made - FINALLY remastered, April 2, 2003\nReviewer: A music fan\nLike the title says, this album is a completely flawless example of 60's folk-rock that easily eclipses some of the best work of CSN&Y, The Doors (who shared a label and a producer), and The Grateful Dead. \nHow exactly a band as fractious and strangely put together as this one could possibly do something of such magnitude is almost unimaginable to me. Clearly, much of the credit should be given to lead writer/singer/coproducer Arthur Lee, who can be heard patiently waiting for the sound he wants on some of the outtakes that are included. Two of the more touching songs from this album are written by Brian MacLean (see: "If You Believe In"), who is tragically overlooked in almost any conversation about the band.\nThis album mixes, mashes and shakes together a variety of different styles of music and emerges as something wholly unique. While clearly folk-rock, this album shows obvious jazz influences and is certainly more than the sum of its parts. Other reviewers have commented on the 'depressing' tone of the album and I feel that is somewhat accurate, though the album is also starkly beautiful. If you insist on listening to solely upbeat music that is Beach Boys-esque you will hate this album. There is no surfing, there are no woodies and the snot has caked against your pants.\nThe original CD release of this album was horribly done, with a high-frequency whine audible on every single track; a great injustice to be sure. This release sounds fresh and includes wonderful outtakes and demos ("Hummingbirds", "Laughing Stock") that are almost worth the cost of the album alone. If you enjoy ANY part of 60's rock or folk music, this should be one of the first albums you buy. \n\nAlas, none of the bands other work rivals this superb effort (but then, not much else does), though "Da Capo" is also quite good.\n\n\nCD Now Review (February 19, 2001)\nThe members of Love had talent to burn -- and burn it they did. Thanks to a litany of missteps -- personnel switches, a stubborn refusal to tour, rampant drug abuse -- Love exhausted most of its creative fuel within a scant three years. The jewel of an erratic catalog, the just-reissued Forever Changes stands as the band's undisputed masterpiece. \nEarly kingpins of L.A.'s acid underground, Love rose to mid-'60s fame with a skewed blend of folk-rock and punk, best heard in the hits "My Little Red Book" and "7 & 7 Is." A more baroque approach began to emerge on 1967's Da Capo, but the lush orchestrations of Forever Changes still must have been a surprise. Tracks such as "A House Is Not a Motel," "Maybe the People Would Be the Times or Between Clark and Hilldale," and "Alone Again Or" churn with rhythmic sizzle -- but electric guitar is scarcely present, replaced instead with flamenco strums, mariachi trumpets, and vivid string arrangements. \n\nThe songs themselves -- mostly written by the group's eccentric leader, Arthur Lee -- are brilliantly memorable, yet follow their own strange, internal logic. Some tracks only contain verses; others have verses and bridges, but never shift into choruses. There are sharp tempo changes, modular tunes with discrete sections, and post-Bacharach twists in melody. Two delicate ballads -- "Andmoreagain" and "Old Man" -- are so traditionally pretty, they're better suited for Broadway than the Sunset Strip. \n\nLee's elusive, stream-of-consciousness lyrics are almost as unusual, avoiding hippie utopianism for darker thoughts about relationships, urban life, and his own inner dissolution (Lee had a premonition that he would die shortly, and conceived the album as his farewell). Yet, he often lightens the mood with surreal whimsy. Witness "Live and Let Live," which has one of pop's greatest openings ever: "Oh, the snot has caked against my pants / It has turned to crystal." \n\nHardly a smash when released in November of 1967, Forever Changes reached only No. 154 on the Billboard charts, and didn't even match the initial sales of Love's previous albums. However, its influence continues to grow, and the songs have been covered by artists ranging from the Damned to Teenage Fanclub, U.F.O., and Yo La Tengo. \n\nRhino's earlier Love anthology contains the entire Forever Changes album, so the label boosts this version's allure with seven bonus tracks. Unfortunately, the catchy but lyrically slight "Wonder People (I Do Wonder)" is the only choice rarity. Other extras are the subsequent "Your Mind and We Belong Together"/"Laughing Stock" single (essential, but also anthologized); two trivially different mixes; an instrumental demo of "The Good Humor Man He Sees Everything Like This"; and a montage of aborted takes that doesn't warrant a second listen. Be warned, though: The bulk of the album is considerably more addictive. -- Eric Broome, CDNOW Contributing Writer\n\nIncluded in Q Magazine's Best Psychedelic Albums of All Time (8/99) \n\nNew Musical Express (10/2/93, p.29) - Ranked #18 in NME's list of the 'Greatest Albums Of All Time.' \n\nQ Magazine (8/99, p.138) - "...whenever lists are compiled for greatest album of all time, FOREVER CHANGES has its advocates....exquisite tunes...a rather elaborate Summer of Love chamber piece..." \n\nMojo (3/01, p.89) - "...'The' key '60s album....Totally suffused in acid: being full of bizarre juxtapositions, perceptual tricks, multiple viewpoint lyrics, lightning fast, almost schizoid changes of mood and topic, the personal fusing with the universal..." \n\nNME (2/17/01, p.45) - 10 out of 10 - "...An album of awesome intensity and tenderness....baroque and beautiful folk-rock the like of which had never been heard before - nore been bettered since..." \n\n\nCD Connection.com Review\nFOREVER CHANGES is also included in its entirety on the 2 disc set LOVE STORY 1966-1972. \n\nLove: Arthur Lee, Bryan Maclean (vocals, guitar); John Echols (guitar); Ken Forssi (bass); Michael Stuart (percussion). \n\nIncludes liner notes by Ben Edmunds. \n\nThe continuing deep affection for this gem is no fluke. Its universal appeal to rock critics earns its position even though total sales have yet to exceed a million. The enigmatic Arthur Lee created the perfect hippie album, with joyous acoustic melody, strings and occasional biting guitars. The paradox was for Lee to sing a line such as 'oh the snot has caked against my pants, it has turned to crystal' and for it to sound absolutely right and sincere. The equally arresting 'Alone Again Or' features the line 'I could be in love with almost everyone', yet somehow avoids sounding like a hippie cliche. For anybody not familiar with this record, it is unconditionally recommended as one of the greatest ever made. \n\n\nROLLING STONE REVIEW\nFolks from the East Coast can't understand how we in the West never worshipped at the altar of the Velvet Underground. The reason is that the West Coast had bands that could be every bit as dark and mysterious, but with the added advantage of being able to sing and play music. Perhaps the best of these amid the mid-Sixties Sunset Strip scene was Love, whose disquieting clash of sunshine and noir defined the L.A. mood the Doors later mined. Leader Arthur Lee is one of rock's great troubled men. When he rode his demons, Lee made '67's Forever Changes, one of the most distinctive masterpieces in that era of masterpieces. When his demons have since ridden him, he's plunged at times into incoherent drifting, bumming change outside the clubs he once ruled, and into his present troubles, serving a twelve-year prison sentence for firing a gun in the air, a sorry victim of California's three strikes laws. On Forever Changes, Lee wrote and sang some of the most luscious melodies this side of the vintage Bee Gees -- check out "Andmoreagain" -- butted against apocalyptic visions of what lay beyond the Summer of Love, as on "The Red Telephone" with its prophetic lyrics, "They're locking them up today, they're throwing away the key/I wonder who it will be tomorrow, you or me?" Rhino's remastered version of the album edition brings out every nuance of the original recording, particularly the flamenco flourish of the near-hit "Alone Again Or," while the seven bonus tracks include demos, alternate takes, the band's final 1968 single and a studio tape of Lee cajoling his band from the producer's chair, showing how driven his muse once was. (WASHBURN -- Feb 21, 2001)
This rock cd contains 11 tracks and runs 42min 52sec.
Freedb: 7b0a0a0b
Buy: from Amazon.com

Categories

Latest lists

Love: Forever Changes (Rhino Replicas Edition) CD Track Listing

Category

Tags

cyList

Legal