Love – Forever Changes (1967/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 42:49 minutes | 1,56 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks.com | Front cover | © Rhino/Elektra
The third and final album by the original Love lineup, Forever Changes regularly draws epic praise. Rolling Stone described it as “elegant armageddon” when listing it as #40 in the “500 Greatest Albums Of All Time,” and, placing it in the context of the late ’60s in another rave review, called it, “one of the most distinctive masterpieces in that era of masterpieces.” A landmark work that’s the L.A.-based psychedelic folk-rock pioneers’ most fully realized studio effort, it was produced by band co-founder/frontman Arthur Lee and The Doors’ engineer/producer Bruce Botnick, and released by Elektra in early ’68. Highlights include “Alone Again Or,” “Andmoreagain,” “The Red Telephone,” and “Live And Let Live”.
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. 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, the lovely melodies and inspired arrangements can’t disguise an air of malaise that permeates the sessions. 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 enduring beauty, but it’s also one of the few major works of its era that saw the dark clouds looming on the cultural horizon, and the result was music that was as prescient as it was compelling.
01 – Alone Again Or
02 – A House Is Not A Motel
03 – Andmoreagain
04 – The Daily Planet
05 – Old Man
06 – The Red Telephone
07 – Maybe The People Would Be The Times Or Between Clark And Hilldale
08 – Live And Let Live
09 – The Good Humor Man He Sees Everything Like This
10 – Bummer In The Summer
11 – You Set The Scene