This thread finally proves my theory that 97% of the people on here do not read the threads that they post in...which explains ALOT.
Sorry, my bad... I use to post only in threads I really feel. I made a mistake by thinking it was another kind of "your favourite" or "top 5" thread... My sincere apologies to everyone who felt more unconfortable than myself after I made this post.
I must admit I didn't know the group "Love"... Neither Arthur Lee... This will be the occasion to learn. I understand the reactions on my "love songs" post as this man seems to have a strong respect from both of you... R.I.P. and for my part, time to learn!
Reminds me I gotta revisit the guitar-heavy 'Vindicator' this weekend. Any other thoughts on Arthur's solo work?
I like both of his solo albums. Vindicator is a bit more Hendrixish, while the self-titled thing on Rhino is less so (more like just a straight-ahead rock album), but either one is a killer.
This thread finally proves my theory that 97% of the people on here do not read the threads that they post in...which explains ALOT.
i certainly am a GUILTY convict
i have to admit that 91% of my input on soulstrut shall continue to be unrelated. please take me as background noise, i am only able to splurk at wurk.
i do enjoy moments of escape into bulletin reality
so a LOVE song... 12 minutes of "Doggone"
love beats hate (i think i should take my shlitts to the heartbreakhotel.com)
Hey: don't fret. At least you were posting about music (which is more than most here, anymore).
...and I'll be playing "DGIA" at the 8/12 Meaty/Castillo Love Fest (if those pirate doods don't steal my set). That song is a true cockle-warmer.
I'm sorry I might be coming off contrary but I can't really understand how anyone could rate "Out Here" over any of the first three (four, really) LPs Lee did. I mean, it's not even in the same league to me.
It is a cool record or whatever but over Forever Changes, Love, Da Capo?
I'm sorry I might be coming off contrary but I can't really understand how anyone could rate "Out Here" over any of the first three (four, really) LPs Lee did. I mean, it's not even in the same league to me.
It is a cool record or whatever but over Forever Changes, Love, Da Capo?
That was the first Love album that was a part of my collection, or at least sides 2 and 3. In time I would buy the entire album. I like the first phase of Love and understand it and the reason why it is praised and why so many consider Out Here not as worthy. For years, I only knew the album as Sides 2 and 3, and about tripped when I heard "I'll Pray For You", "Abalone", "Run To The Top", "Signed D.C.", and "Instru-Mental".
In my own music, "Doggone" is one of many "streams of continuity", as "Doggone" was the first beat I ever looped and "air drummed" to. In my old stuff, when I referred to George or "Uncle George", that was for drummer George Suranovich, whose style of playing I had not heard before until I got deep into jazz and realized Survanovich was borrowing quite a lot from Ed Thigpen.
When I did a radio show called "Classic Cafe", my "specialty" was "late 60's and early 70's" and I knew that Love were accepted for the early Elektra work, and not anything they did for Blue Thumb. But I played the album to death, because I wanted people to check it out.
Sentimental? Definitely, but it was an album that:
1) Made me more aware of drum breaks vs. drum solos. I am a fan of both, and "Doggone" had both. I'm a huge drum solo junkie, and within the first two minutes of a psychotic drum solo Suranovich breaks it down and does something funky. It was an open break, long before "an open break" was common knowledge'. I knew that as "the funky part on Side 2".
2) Lead me to collecting records. My dad was the big rock freak, with friends whom he would "deliver" to and smoke for a few hours, so their record collections were my toy box. The records with the freaky covers (i.e. Spooky Tooth) were the albums with the best music, and when rap music (before it became hip-hop) became more sample-based, I had accumulated a small bit of knowledge of where all the cool sounds were. That, in turn, lead me to want to become an artist and producer, at the same time I had just started out as a journalist.
Is it ? Why, because my choice doesn't conform to what everyone else normally picks as a "favorite"? I'm fine with that. I like Love from 1968-1970, and Arthur Lee's post-Love albums are very good too. His songwriting was amazing, quirky but he was very confident of his capabilities, even if his motives said otherwise. I am a fan of the early phase of Love, but give me Out Here in abundance.
I'm sorry I might be coming off contrary but I can't really understand how anyone could rate "Out Here" over any of the first three (four, really) LPs Lee did. I mean, it's not even in the same league to me.
It is a cool record or whatever but over Forever Changes, Love, Da Capo?
i can't help from falling in love...
rates change as random as attractions can so maybe tomorrow i'll have time to edit my post up with a goldmine point system and correct leagues just for you
Is it ? Why, because my choice doesn't conform to what everyone else normally picks as a "favorite"? I'm fine with that. I like Love from 1968-1970, and Arthur Lee's post-Love albums are very good too. His songwriting was amazing, quirky but he was very confident of his capabilities, even if his motives said otherwise. I am a fan of the early phase of Love, but give me Out Here in abundance.
It is clear to me that you have a personal connection to it. Thanks for the explanation. And I guess that's what we're talking about with "favorites".
It's not about conformity, but nowhere in your post did you contend that "Out Here" was better music, just of more personal significance. I'm alright with that.
But I think that while Out Here is cool, it's not genius. Forever Changes touches people, and changes lives - perhaps not yours, but I don't think its brilliance can really be argued. Hence my post.
It is clear to me that you have a personal connection to it. Thanks for the explanation. And I guess that's what we're talking about with "favorites".
It's not about conformity, but nowhere in your post did you contend that "Out Here" was better music, just of more personal significance. I'm alright with that.
I feel it is "better music", it is much more than something significant for me.
But I think that while Out Here is cool, it's not genius. Forever Changes touches people, and changes lives - perhaps not yours, but I don't think its brilliance can really be argued. Hence my post.
Forever Changes is a great album, and of course other critics and journalists have made it into their own Pet Sounds, which is understandable. The Rhino Deluxe Edition with all of the bonus tracks is worth picking up too.
With Out Here, it's sad that the only think that has existed, at least in digital form, is the album proper, and ONE single CD issueon One Way/MCA. That thing is in dire need of a remaster, and I hope someone like Steve Hoffman or Barry Diament will get a chance. I'd hate to hear Suha Gur fuck it up.
I too like the "genius" of things, but sometimes a good album is a good album, with or without thought. Something like The Stooges' Fun House works as a ruthless rock album, and the Rhino Handmade box set shows this. It's just four guys having a good time. Looking back, we as archivists want to claim it's "genius", and it's a nice way of saying "it works". For me, Out Here works, even though it isn't as cohesive as Forever Changes. False Start is a bit like diarrhea, it's relief but it's all over the place. Out Here. for me, holds up not only as a great piece of work by Love circa 1969, but it is definitely "of the times". Yet go back to "Discharge" and the lyrics are very fitting, considering what's going on today.
Would I recommend it as the first album for new Love fans? No. I would probably tell someone to pick the Elektra albums. Then in time, they'll make it to Out Here. Not everyone is going to like it, but those who do (specifically those who will buy the album for more than the "Doggone" beat) will be rewarded. It begins with a prayer, it ends with a eulogy of hope.
I'm still not into Out Here and I think you're off.
But that's ok
I couldn't really care less what a music critic lionizes, I do not consider myself at all well-informed about what the critical opinion of various rock records is. This is strictly my opinion of the music and how I see people react to it.
I sell records for a living, but the biggest issue in my job is whether or not the thing actually sounds good. And I think it's telling that Out Here will sit around the shop for months before someone plunks down for it yet I can't keep any of the Elektra titles in stock.
Forever Changes is beyond a great album. That's foundation type shit.
The genius of Arthur Lee is shown in the fact that Four Sail, Out There and False Start are really good albums, far better than people give them credit for. I love Bryan MacLean as much as the next guy, but Lee did some thangs without him too.
I sell records for a living, but the biggest issue in my job is whether or not the thing actually sounds good. And I think it's telling that Out Here will sit around the shop for months before someone plunks down for it yet I can't keep any of the Elektra titles in stock.
Believe it or not, Out Here is probably the only original Love/Arthur Lee album I don't have. I just know "Doggone" from an edited version on Studio/Live***, and I cannot feature it with a drum solo...
[color:red]***1982 compilation on MCA with selected Blue Thumb tracks on one side and a previously unissued live show from 1970 on the other [/color]
That last Love album, Reel To Real, stunk to high heaven and even THAT had some isolated good tracks.
You might give it another chance - I'd say it was good, and had a couple isolated tracks that stank to high heaven. "Busted Feet" rips pretty hard, and the William Devaughan Cover is pretty cool, for starters...
That last Love album, Reel To Real, stunk to high heaven and even THAT had some isolated good tracks.
You might give it another chance - I'd say it was good, and had a couple isolated tracks that stank to high heaven. "Busted Feet" rips pretty hard, and the William Devaughan Cover is pretty cool, for starters...
Yay on "Busted Feet," as well as "Everybody's Gotta Live," "Singing Cowboy," "Good Old Fashioned Dream," and "You Said You Would" (the gunshot effects are eerie, considering that that was the same thing that put him in jail decades later).
Nay on the William DeVaughn cover, "Be Thankful For What You Got." Arthur should have used his raw "Seven & Seven Is" voice, but instead he sang it with his crooning "Andmoreagain" voice, and it didn't work out right. As a black coworker of mine once said after hearing Love's version blind: "Not bad for a Caucasian."
I never understood all the praise Forever Changer gets. It's a great record. Probably an amazing record. But people talk about it like it was the second coming.
Again, it is a great record, but not a life-changing or turning point one. At least not for me...
I still don't own Out Here, but a friend and former coworker at my former job was gracious enough to download his copy of the CD reissue to my iTunes.
Verdict: this album and False Start aren't bad, but they're for fans only, like myself. Johmbolaya notwithstanding, I suspect that if these two albums were your first exposure to Love, you might wonder what the fuss is about. There was a reason why Jonny Paycheck couldn't keep their Elektra albums in stock, yet the Blue Thumb-era material sat around the shop for a while.
Comments
Sorry, my bad... I use to post only in threads I really feel. I made a mistake by thinking it was another kind of "your favourite" or "top 5" thread... My sincere apologies to everyone who felt more unconfortable than myself after I made this post.
Sorry again folks!
'willow willow' off OUT HERE
I like both of his solo albums. Vindicator is a bit more Hendrixish, while the self-titled thing on Rhino is less so (more like just a straight-ahead rock album), but either one is a killer.
Hey: don't fret. At least you were posting about music (which is more than most here, anymore).
...and I'll be playing "DGIA" at the 8/12 Meaty/Castillo Love Fest (if those pirate doods don't steal my set). That song is a true cockle-warmer.
Run To The Top
Instru-Mental
Car Light On In The Day Time Blues
Pretty much the entire Out Here[/b] album
It is a cool record or whatever but over Forever Changes, Love, Da Capo?
That was the first Love album that was a part of my collection, or at least sides 2 and 3. In time I would buy the entire album. I like the first phase of Love and understand it and the reason why it is praised and why so many consider Out Here not as worthy. For years, I only knew the album as Sides 2 and 3, and about tripped when I heard "I'll Pray For You", "Abalone", "Run To The Top", "Signed D.C.", and "Instru-Mental".
In my own music, "Doggone" is one of many "streams of continuity", as "Doggone" was the first beat I ever looped and "air drummed" to. In my old stuff, when I referred to George or "Uncle George", that was for drummer George Suranovich, whose style of playing I had not heard before until I got deep into jazz and realized Survanovich was borrowing quite a lot from Ed Thigpen.
When I did a radio show called "Classic Cafe", my "specialty" was "late 60's and early 70's" and I knew that Love were accepted for the early Elektra work, and not anything they did for Blue Thumb. But I played the album to death, because I wanted people to check it out.
Sentimental? Definitely, but it was an album that:
1) Made me more aware of drum breaks vs. drum solos. I am a fan of both, and "Doggone" had both. I'm a huge drum solo junkie, and within the first two minutes of a psychotic drum solo Suranovich breaks it down and does something funky. It was an open break, long before "an open break" was common knowledge'. I knew that as "the funky part on Side 2".
2) Lead me to collecting records. My dad was the big rock freak, with friends whom he would "deliver" to and smoke for a few hours, so their record collections were my toy box. The records with the freaky covers (i.e. Spooky Tooth) were the albums with the best music, and when rap music (before it became hip-hop) became more sample-based, I had accumulated a small bit of knowledge of where all the cool sounds were. That, in turn, lead me to want to become an artist and producer, at the same time I had just started out as a journalist.
Is it
All together now:
RUN TO THE TOP OF THE...
HIGH-EST MOUNNNNNNN-TAINNNNNNNNNNNNNNNNNNN[/b]
i can't help from falling in love...
rates change as random as attractions can so maybe tomorrow
i'll have time to edit my post up with a goldmine point system and correct leagues just for you
ps they're cool records to me
It is clear to me that you have a personal connection to it. Thanks for the explanation. And I guess that's what we're talking about with "favorites".
It's not about conformity, but nowhere in your post did you contend that "Out Here" was better music, just of more personal significance. I'm alright with that.
But I think that while Out Here is cool, it's not genius. Forever Changes touches people, and changes lives - perhaps not yours, but I don't think its brilliance can really be argued. Hence my post.
I feel it is "better music", it is much more than something significant for me.
Forever Changes is a great album, and of course other critics and journalists have made it into their own Pet Sounds, which is understandable. The Rhino Deluxe Edition with all of the bonus tracks is worth picking up too.
With Out Here, it's sad that the only think that has existed, at least in digital form, is the album proper, and ONE single CD issueon One Way/MCA. That thing is in dire need of a remaster, and I hope someone like Steve Hoffman or Barry Diament will get a chance. I'd hate to hear Suha Gur fuck it up.
I too like the "genius" of things, but sometimes a good album is a good album, with or without thought. Something like The Stooges' Fun House works as a ruthless rock album, and the Rhino Handmade box set shows this. It's just four guys having a good time. Looking back, we as archivists want to claim it's "genius", and it's a nice way of saying "it works". For me, Out Here works, even though it isn't as cohesive as Forever Changes. False Start is a bit like diarrhea, it's relief but it's all over the place. Out Here. for me, holds up not only as a great piece of work by Love circa 1969, but it is definitely "of the times". Yet go back to "Discharge" and the lyrics are very fitting, considering what's going on today.
Would I recommend it as the first album for new Love fans? No. I would probably tell someone to pick the Elektra albums. Then in time, they'll make it to Out Here. Not everyone is going to like it, but those who do (specifically those who will buy the album for more than the "Doggone" beat) will be rewarded. It begins with a prayer, it ends with a eulogy of hope.
But that's ok
I couldn't really care less what a music critic lionizes, I do not consider myself at all well-informed about what the critical opinion of various rock records is. This is strictly my opinion of the music and how I see people react to it.
I sell records for a living, but the biggest issue in my job is whether or not the thing actually sounds good. And I think it's telling that Out Here will sit around the shop for months before someone plunks down for it yet I can't keep any of the Elektra titles in stock.
The genius of Arthur Lee is shown in the fact that Four Sail, Out There and False Start are really good albums, far better than people give them credit for. I love Bryan MacLean as much as the next guy, but Lee did some thangs without him too.
make love to me right now - the minx '72
I want a Harvest pressing of Out Here.
[color:red]***1982 compilation on MCA with selected Blue Thumb tracks on one side and a previously unissued live show from 1970 on the other [/color]
Love this album. The beginning of Arthur's hard rock years.
Still have to get this one.
Has its' moments, but not good enough to play all the way through.
That last Love album, Reel To Real, stunk to high heaven and even THAT had some isolated good tracks.
You might give it another chance - I'd say it was good, and had
a couple isolated tracks that stank to high heaven. "Busted Feet"
rips pretty hard, and the William Devaughan Cover is pretty cool,
for starters...
Yay on "Busted Feet," as well as "Everybody's Gotta Live," "Singing Cowboy," "Good Old Fashioned Dream," and "You Said You Would" (the gunshot effects are eerie, considering that that was the same thing that put him in jail decades later).
Nay on the William DeVaughn cover, "Be Thankful For What You Got." Arthur should have used his raw "Seven & Seven Is" voice, but instead he sang it with his crooning "Andmoreagain" voice, and it didn't work out right. As a black coworker of mine once said after hearing Love's version blind: "Not bad for a Caucasian."
WTF? Does anyone have any idea what the hell this lyric is about?
:grin:
Again, it is a great record, but not a life-changing or turning point one. At least not for me...
To answer the first question, probably Old Man.
Verdict: this album and False Start aren't bad, but they're for fans only, like myself. Johmbolaya notwithstanding, I suspect that if these two albums were your first exposure to Love, you might wonder what the fuss is about. There was a reason why Jonny Paycheck couldn't keep their Elektra albums in stock, yet the Blue Thumb-era material sat around the shop for a while.