Posts Tagged ‘Ken Forssi’

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Arthur Lee (1945-2006) – 1960s – Born on March 7th, 1945, Arthur Lee would have celebrated his 75th birthday this week… Lee was the lead singer and front man of Los Angeles Rock band Love. He formed the band in 1965 with old classmate Johnny Echols, along with Bryan Maclean (guitar, vocals), Ken Forssi (bass), and Alban Pfisterer (on the first album). Building up a sizable following at Hollywood area clubs, the band came to the attention of Elektra Records at the Whisky-a-Go-Go and was offered a recording contract. Love’s first hit was a cover of the Manfred Mann’s “My Little Red Book,” a Burt Bacharach/Hal David composition, culled from Love’s self-titled first album released in 1966. The follow-up, “De Capo,” 1967 was released a month before “The Doors,” debut album which was also issued on Elektra Records with both engineered by Bruce Botnick. While the Doors debut climbed to #2 nationally on the strength of the chart-topping single, “Light My Fire,” “De Capo,” managed to reach only #80, but contained the band’s biggest selling single “7 and 7 Is.” Whether the Doors’ success impacted Love is debatable but the band’s third album “Forever Changes,” was its masterpiece, and is rightly considered one of the finest albums of the ’60s – and arguably one of the best rock albums ever.

It contained a song for the ages “Alone Again Or,” with its glorious guitar intro and the sublime horn solo at the bridge. The album was Lee’s crowning achievement ranking #40 on Rolling Stone magazine’s list of the 500 Greatest Albums of All Time. It was to be the last album with the original group. There would be three more albums with different personnel, and Lee would carry off and on with a reconstituted Love up until his passing in 2006. If you want to understand Lee’s genius as a songwriter and musician, listen to these three albums to hear other brilliant songs such as “Orange Skies,” “She Comes in Colors,” Signed D.C. and “Red Telephone.” Lee never got his due owing to many issues, but make no mistake, he was one of the seminal Rock musicians from the ‘60s.

Arthur Lee & Love– 2003 – “Alone Again Or,” Originally on one of the singular albums of the 1960s “Forever Changes,” this sublimely beautiful song of heartbreak will yet tear your heart apart. Demonstrating that he had lost none of his prodigious talent, Lee leads Love in a powerfully touching rendition of one of his signature songs made all the more poignant because Lee would pass from this world just three years later from complications surrounding Leukemia treatments in his hometown of Memphis, Tennessee on August 3, 2006. he was 61. If you can make it through the trumpet solo without shedding a tear…To truly feel this song, turn it up…This is a truly epic performance.

First of 3 songs performed by Arthur Lee and Love in 2003. This song and “You Set The Scene” are from a US presentation of “Later.. with Jools Holland” on the Ovation Network.

Arthur Lee’s 1981 solo album is re-pressed by Friday Music on CD.  The late Love frontman provided the liner notes for this album, on which he revisited “7 and 7 Is” and paid tribute to his band with “I Do Wonder.”

As a visionary and leader of the 60s iconic band Love, Arthur Lee’s prolific words and music continue with this second solo release. Out of print for over three decades, Friday Music is proud to offer another installment of the Love & Arthur Lee Remaster Series . Includes the fan favorite One, a new take on 7 & 7 Is and a nod to Love with I Do Wonder. Featured players include the late seventies Love and the late great guitarist Velvert Turner. Original liner notes by Lee as well as definitive remastering by Love archivist Joe Reagoso.

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“Love” is the debut LP by Love, released in March 1966 on Elektra Records. . After gigging around the Los Angeles scene for three years, Arthur Lee was ready for something different. Lee had been recording since 1963 with his bands, the LAG’s and Lee’s American Four. He had written and also produced the single “My Diary” for Rosa Lee Brooks in 1964 which featured Jimi Hendrix on guitar. A garage outfit, The Sons Of Adam, which included future Love drummer Michael Stuart, also recorded a Lee composition, “Feathered Fish”.

Inspired by seeing The Byrds live, he decided to merge their folk-rock sound with the driving r&b he had been playing to create a new group, dubbed Love.recruiting guitarists Johnny Echols and ex-Byrds roadie Bryan Maclean, bassist Ken Forssi and drummer Alban “Snoopy” Pfisterer, Love began recording their eponymous debut LP in January 1966. Their first single, Bacharach/David composition “My Little Red Book,” spotlights an insistent, menacing riff that sounds nothing like what their contemporaries were committing to vinyl. Other cuts highlight the writing talents of Lee and the band members.

Nothing like what their contemporaries Who were committing to vinyl. Other cuts highlight the writing talents of Lee and the band members, notably on Lee’s anti-drug essay “Signed, D.C.” and Maclean’s “Softly to Me.” Also included is their version of the rock standard “Hey Joe,” rivaling The Leaves’ hit version for power and sporting some lyric alterations. The group, which lived communally at the time in a house formerly owned by Boris Karloff (they are pictured in the house’s garden on the LP cover), quickly coalesced into one of the West Coast’s most influential and exciting groups; here is where it all began. This was their hardest-rocking early album and their most Byrds-influenced.” Arthur Lee’s songwriting muse hadn’t fully developed at this stage, and in comparison with their second and third efforts, this is the least striking of the LPs featuring their classic line-up, with some similar-sounding folk-rock compositions and stock riffs.

https://www.youtube.com/watch?v=JYINIxCD2rg

Twelve of the album’s fourteen tracks were recorded at Sunset Sound Recorders in Hollywood on January 24th–27th, 1966. The remaining two tracks (“A Message To Pretty” and “My Flash On You“) come from another session.

Love
  • Arthur Lee – lead vocals, percussion, harmonica. Also drums on “Can’t Explain”, “No Matter What You Do”, “Gazing”, and “And More”.
  • Johnny Echols – lead guitar
  • Bryan MacLean – rhythm guitar, vocals. Lead vocals on “Softly to Me” and “Hey Joe”.
  • Ken Forssi – bass guitar
  • Alban “Snoopy” Pfisterer – drums

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One of the best West Coast folk-rock/psychedelic bands, Love may have also been the first widely acclaimed cult/underground group. During their brief heyday only lasting all of three albums. They were also one of the first integrated rock groups, led by genius singer/songwriter Arthur Lee, one of the most idiosyncratic and enigmatic talents of the ’60s. They were stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to tour.

Love was formed by Lee in the mid-’60s in Los Angeles. Although only 20 at the time, Lee had already scuffled around the fringes of the rock and soul business for a couple of years. In addition to recording some flop singles with various bands, he wrote and produced a single for Rosa Lee Brooks that Jimi Hendrix played on as session guitarist. Originally calling his outfit the Grass Roots, Lee changed the name to Love after another Los Angeles group called the Grass Roots began recording for Dunhill. Love’s repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean.

Inspired by British Invasion bands and local peers the Byrds, Love built up a strong following in hip L.A. clubs. Soon they were signed by Elektra Records, the noted folk label that was just starting to get its feet in rock (it had recorded material by early versions of the Byrds and the Lovin’ Spoonful, and had just released the first LP by Paul Butterfield). Love released three albums with core members Lee, Echols (lead guitar, vocals), Bryan MacLean (guitar, vocals), and Ken Forssi (bass). The drum chair revolved between Alban “Snoopy” Pfisterer (Love, “7 and 7 Is”) and Michael Stuart (all tracks on Da Capo except “7 and 7 Is”, Forever Changes). Pfisterer reportedly found the demanding drum parts on “7 and 7 Is” so exhausting that he and Arthur Lee alternated takes on the first recorded outtakes, but on the final take used for the record, Pfisterer performed the entire track Da Capo also included Tjay Cantrelli, who was added on saxophone and flute while Pfisterer moved to organ and harpsichord. Both were out of the group by the time Forever Changes was recorded

Love  –  Love (1966)

Love’s debut is both their hardest-rocking early album and their most Byrds-influenced. Arthur Lee’s songwriting muse hadn’t fully developed at this stage, and in comparison with their second and third efforts, this is the least striking of the LPs featuring their classic lineup, with some similar-sounding folk-rock compositions and stock riffs.

A few of the tracks are great, though: their punky rendition of Bacharach/David’s “My Little Red Book” was a minor hit, “Signed D.C.” and “Mushroom Clouds” were superbly moody ballads, and Bryan Maclean’s “Softly to Me” proved that Lee wasn’t the only songwriter of note in the band.

Love   –   Da Capo  (1967)

Love broadened their scope into psychedelia on their second effort, Arthur Lee’s achingly melodic songwriting gifts reaching full flower. The six songs that comprised the first side of this album when it was first issued are a truly classic body of work, highlighted by the atomic blast of pre-punk rock “Seven & Seven Is” (their only hit single), the manic jazz tempos of “Stephanie Knows Who,” and the enchanting “She Comes in Colors,” perhaps Lee’s best composition (and reportedly the inspiration for the Rolling Stones’ “She’s a Rainbow”).

It’s only half a great album, though; the seventh and final track, “Revelation,” is a tedious 19-minute jam that keeps Da Capo from attaining truly classic status.

Love  –  Forever Changes (1967)

Love’s “Forever Changes” made only a minor dent on the charts when it was first released in 1967, but years later it became recognized as one of the finest and most haunting albums to come out of the Summer of Love, which doubtless has as much to do with the disc’s themes and tone as the music, beautiful as it is. Sharp electric guitars dominated most of Love’s first two albums, and they make occasional appearances here on tunes like “A House Is Not a Motel” and “Live and Let Live,” but most of Forever Changes is built around interwoven acoustic guitar textures and subtle orchestrations, with strings and horns both reinforcing and punctuating the melodies.

https://www.youtube.com/watch?v=_X3HKEC68EM

The punky edge of Love’s early work gave way to a more gentle, contemplative, and organic sound on Forever Changes, but while Arthur Lee and Bryan MacLean wrote some of their most enduring songs for the album, with the lovely melodies and inspired arrangements. A certain amount of this reflects the angst of a group undergoing some severe internal strife, but Forever Changes is also an album that heralds the last days of a golden age and anticipates the growing ugliness that would dominate the counterculture in 1968 and 1969; images of violence and war haunt “A House Is Not a Motel,” the street scenes of “Maybe the People Would Be the Times or Between Clark and Hillsdale” reflects a jaded mindset that flower power could not ease, the twin specters of race and international strife rise to the surface of “The Red Telephone,” romance becomes cynicism in “Bummer in the Summer,” the promise of the psychedelic experience decays into hard drug abuse in “Live and Let Live,” and even gentle numbers like “Andmoreagain” and “Old Man” sound elegiac, as if the ghosts of Chicago and Altamont were visible over the horizon as Love looked back to brief moments of warmth. Forever Changes is inarguably Love’s masterpiece and an album of classic enduring beauty.

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