Courtesy of Rhino Records

All You Need Is Love

By Brogan Bentley

Deeply seeded in the heart of a sprawling land known as Los Angeles is a band called Love. Forever connected to this city and its spirit is the sound of the group, whose cathartic songs range as widely in style as the place from which they were born. Whether it be strolling through quiet streets filled with Hollywood castles, racing through unceasing boulevards at midnight, or becoming entranced by the young Santa Monica Mountains, sunlight scattered over boundless green leaves covering the mystical hills: it is all fuel for Love.

Arthur Lee would wear the crown in this Love story, providing majesty in music to those within the kingdom over which he and his group reigned. Not unlike many stories of those who beseech the throne, tyranny would bring a due and ill fate, leaving this story not so tender hearted as it had once begun. Having penned the songs “7 & 7 Is” and “Message to Pretty” (about his childhood sweetheart) while still at L.A.’s Dorsey High School, young songsmith Lee needed a band. The outfit which came to be known as Love soared atop the Hollywood scene, acting as the residing house band at the then famed club, Bito Lito’s, bringing hundreds of youths to a cosmic alley known as Cosmo Street, located between Sunset and Hollywood Boulevards.

The group at the time (comprised of Lee’s life-long friend and former Dorsey High class mate guitarist Johnny Echols, bassist Ken Forssi, drummer Alban ‘Snoopy’ Pfisterer, and former Byrds roadie Bryan Maclean) were one of the only mixed-race groups, embodying the melting pot that is Los Angeles. Like the new breed of like-minded youths around the West Coast with whom they set the scene. Love brought the prophetic psychedelic dances to the people in the years of 1965 and ‘66. In the recently released documentary Love Story, the story of the band’s inception, rise to near-stardom and quick decline into nothingness is one of the most heartbreaking rock & roll tales in history, told here with such depth and despair that in some ways it’s like watching a car crash about to happen.

The enigmatic presence of a commanding live band, the chaos of early amplifiers played to the point of explosion, along with the unique voice of Lee, brought an energy that people could not deny, quickly magnetizing label executives in the process. It would be Elektra Records (already sporting the electrifying Paul Butterfield Blues Band) that would sign the band, with whom Love would go on to record three full-length albums. The collection of songs heard on the first album, titled simply Love, is a snapshot of the songs and energy that gained the band acclaim amongst the budding scene. Luckily, there is enough early film footage to set the scene and perfectly capture just how Love began. Los Angeles never seemed so new. Though great success had been carved out for the group in and around their hometown, with early songs like “My Little Red Book” frequenting the radio airwaves, outside the wondrous haven of Los Angeles, Love’s effects were not far reaching, and therein rests the first hint of failure.

With Lee acting as haphazard manager, combined along side his unwillingness to tour, a spark failed to ignite throughout the greater popular culture. Furthermore, an unknown L.A. group would be introduced to Elektra Records by their idols, Love. That unknown group was The Doors, soon surpassing Love in popularity by leaps and bounds at the time.

Love’s Lee quickly grew embittered by the success of their protégés, The Doors, as well as the looming scale of the Vietnam War and the Watts riots, which he saw as a complete counterpart to his message. After that, a darker message started to form. The second album, Da Capo featured a deeper, highly introspective quality, one leaning toward seclusion. Almost all were composed at the hidden Love camp--a house high in the Laurel Canyon hills. Both delicate and powerful, songs like “The Castle” and “She Comes In Colors,” showcased the floral sounds of the next opus to come, while Maclean contributes the catchiest tune of the album “Orange Skies.” Though his songwriting and singing proved stronger than ever before, the tension between Lee and Bryan Maclean was mounting.

Despite the growing internal conflict, both in the band and among members individually, the most powerful of Love’s music had yet to been expressed. But only after rebirth. Upon the coming together for the Forever Changes sessions, it was apparent to Lee, acting as he had since day one as ringleader, that his band was unable to play, as heroin had led to a grave deterioration in the spirit and ability of the group.

Several of the tracks from Forever Changes display the abilities of Los Angeles’ finest session players, but the chemistry would not compare to that of true Love, for such a thing cannot be bought. Upon a tear-soaked listening to the hired-hands sessions by the ex-members of Love, an agreement was made to leave the drugs behind and for the band to complete the record with Lee. Though they had pulled together, it is clear through Arthur’s lyrics, that he too sensed the darkness that had tried to envelop the band. Suggestions of his own death are riddled throughout the album’s maze-like lyrics: “When I’m gone, now, don’t you weep for me” most obviously.   

Yet there is a brightness which floods this masterpiece of an album, likely due to the contributions of a small chamber orchestra. Conducted by David Angel with the help and collaboration of Lee, these arrangements undoubtedly heighten the grandeur of the music. But the often Baroque nature of the orchestration was nothing like those bands contemporary to Love, and clearly points to what is one of their lasting achievements. Listening to Angel explain now what the sessions were like is a gift that doesn’t come very often in musical history, and should be cherished.

Always the Forever Changes intention is on-point and holds strong, as the music grows more and more appreciated as time passes. Be it the swirling strings, echoed high hats, finger-picked acoustic guitar or reverberated vocals, there will always be something new to tap into on this past and precious sound.

As with all great bands and albums that have since passed, there will always be questions unanswered, gestures still waiting to be expressed, and solace yet to be found. Love may have fallen into mystery, as they are no longer near. But for the great love that is the band Love, we are unselfishly given a body of music, which can be held onto for a lifetime. Love is something over which we have no control. It is to be embraced when it is near, and accepted when it leaves, but always is to be revered while in the presence of. The story of Love has been one both surreal and tragic. Love Story gives us the chance to understand the past, enjoy the present and see the future. And that really is all you need: Love.