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08:04:2006:
Bummer in the Summer - Love's Arthur Lee Passes Away at 61
This is the only
thing that I am sure of
And that's all that lives is gonna die
And there'll always be some people here to wonder why
And for every happy hello, there will be good-bye
There'll be time for you to put yourself on
- Love,
“You Set The Scene”
I would
like to make the news more than an obituary section but damn if
the all-time greats aren’t falling off a bit young. Two of
the most important musical minds of the late-1960s, Syd Barret,
and now, Arthur Lee, both notoriously in bad health, have left us
within a few weeks of one another.
Like many
of you, Love’s been one of my absolute favorites a good hunk
of my life. I inherited their very garagy first album from my stepfather,
picked up a copy of their Best of at fourteen, Forever
Changes (sealed in a cutout bin of a new record store) and
found Da Capo (used, after much effort, and, in the process,
an original copy of Four Sail. These things cost very little
at the time ) and, by sixteen, was covering “She Comes In
Colors” with my high school band because we thought “Seven
and Seven Is” was too obvious and we couldn’t figure
out how to play “Stephanie Knows Who” – which
has many more parts in a couple of minutes than the entire side
that is “Revelation.” Forever Changes, which
didn’t hit me at first for being a bit too sappy, became as
great to me as it is to you… both as a late-night and afternoon
record… though I haven’t yet got to hear the CD version
with the out-takes, etc. I guess what I’m trying to say is
that, this man's music has been a big part of my life for a long
time.
Also, after
years of musical obsession and dozens of phases, there are very
few things that have stuck with me consistently from my formative
years to the present, and Love, like early Pink Floyd, is certainly
one of them. I've also talked to a few others who've had the same
experience. While our listening patterns are entirely a spontaneous
organic process, things happen for a reason. In the case of Love,
I think that there’re a number elements that make them stand
out from their contemporaries and followers…
Love photo session that wound up as the cover for the first
two albums |
Arthur
Lee, like Syd Barrett, could be hokey (“the snot is caked
against my pants/it has turned into crystal”), but nonetheless
had an uncanny ability to write well-rounded pop songs that had
unique elements. Particularly in the era with Bryan MacLean (R.I.P.),
there’s nary an early Love song that doesn’t have something
interesting about it. The band’s experimentation, particularly
with the combination of Tin Pan Alley standards, folk, and rock’n’roll
and later with flamenco, chamber music, and psychedelia was as unique
for its time as it is for today. Lee’s inimitable voice, guitar
playing, and general aesthetic are still refreshing and superb.
Love's approach was not of it's time and, therefore, timeless -
the early records are never too dated. Finally, Love, in their prime,
had a great line-up and was simply one of the best rock bands of
all time.
Also, in
a historical context, while certainly some of the finest stuff in
music history was happening in 1966, and we listen to much of it
today, it wasn’t yet mass culture and a handful of visionary
groups that year were a bridge from “Louie Louie” frat
rock, surf, and R&B to psychedelia and modern rock (The Velvet
Underground and The Godz here, 13th Floor Elevators and Red Krayola
in TX, nothing special in San Francisco (Charlatans?, Jefferson
Airplane, Great Society, Warlocks [yuck], etc), Pink Floyd, The
Zombies, Pretty Things, et al in the UK, etc.). But LA had a particularly
fertile musical landscape: the more experimental Captain Beefheart
or Mothers of Invention, or the garage Chocolate Watchband or Music
Machine, or the folk rock of The Byrds and Buffalo Springfield,
the bubblegum folk of Mamas and Papas or Sonny and Cher, or the
California dreamin’ of Beach Boys or Manson, the churning
organ of Anton LaVey, the wall of sound of Phil Spector, or the
entire Hollywood/Vegas schmaltz and standards industry. So this
was an ideal environment for Lee, yet another tasteful Memphian,
an early LSD advocate, and, at first, a drummer, to help fuse the
atypical collection of elements that became Love – and, in
doing so, heavily inform the group that really broke the musical
end of the cultural revolution open commercially in 1967, The Doors.
As
for the band's late period , which was really Arthur Lee solo, his
brilliance is not as apparent, but he nonetheless now and again
still had his moments for many years to come. It could’ve
been because of his burnout do to excessive drug use, or, more likely,
that Bryan MacLean was a bit of an under-rated force in the band,
and that the magic between the two was never recaptured as frequently
as when either were alone. Though he was active for a good chunk
of the last thirty-five years, like the inactive Barrett, Lee will
be remembered primarily for his stellar work in the preceding years.
Regardless, Arthur Lee’s contribution was gigantic and I have
no idea which direction music would’ve gone without him.
If you
want a biographical obituary, go to the links that follow. I feel
like I’m failing and meandering. I wish I could properly express
my sadness regarding the passing of this soul that had such a troubled
existence for the second half of his life yet gave so much to all
of us. I wish I had the right words beyond why his band is important
to me and the world in general. But I don't. But I want to give
some kind of remembrance. I recognize that I'm stuck in the same
ambiguous confusion expressed in many of Love's best songs:
Can you find your
way
Or do you want my vision
It's dark there, they say
But that's just indecision
And in my last inspection
Is this the right direction
-Love, "Que Vida"
Arthur Lee diserves better
than this. Here're a few obits as of press time:
OBITS:
MTV
Billboard
CNN
Pitchfork
ARTHUR LEE/LOVE SITES:
Arthur
Lee
Wikipedia
Official
Love with Arthur Lee Myspace
NYNT
NEWS ARCHIVE
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