Forever Changes is the third album by the folk rock band Love, and has become their crowning achievement musically. It is a richly produced and sonically fine album which was not a huge hit commercially but became recognized as one of the finest albums from the California scene in 1967. Produced by Bruce Botnick and the band’s lead vocalist and primary songwriter Arthur Lee, the album is made of songs are primarily acoustic-based with liberal splashes of brass and strings along with a strong rhythmic backbone, while the use of electric guitars, which dominated most of the band’s first two albums, is limited to a few strategic appearances.
The band released their critically acclaimed debut album in 1966, but took a bit of an artistic detour with the follow-up Da Capo in early 1967. Prior to recording Forever Changes, Love downsized to a five piece by dropping keyboardist Alban Pfisterer and saxophonist Tjay Cantrelli. Still, the group was undergoing some severe internal strife and the sessions began with only Lee and guitarist Bryan MacLean from the band along with several well-known Los Angeles session musicians. This was allegedly due to the rest of the line-up’s alleged inability to function at the time, and the song “Andmoreagain” was recorded with this session arrangement. According to Botnick, the use of session musicians “sparked” the band and they soon got their act together to record the rest of the album.
Instrumentally, the album is made of an acoustic core of guitar textures with an overlay of horns, strings, and orchestral swell, with some of the brass punctuating the melodies. Lee worked with arranger David Angel, spending several weeks playing and singing the envisioned orchestral parts, which he had envisioned for these compositions from the beginning. The result is a diverse album with fluctuations in rhythm patterns, tonal color, and lyrical substance.
Forever Changes by Love
|Released: November, 1967 (Elektra)
Produced by: Bruce Botnick & Arthur Lee
Recorded: Sunset Sound Recorders, Hollywood, June-September 1967
|Side One||Side Two|
|Alone Again Or
A House Is Not a Motel
The Daily Planet
The Red Telephone
|Maybe the People Would Be the Times
Live and Let Live
The Good Humor Man He Sees Everything Like This
Bummer In the Summer
You Set the Scene
|Arthur Lee – Lead Vocals, Guitars
Johnny Echols – Lead Guitars
Bryan MacLean – Guitars, Vocals
Ken Forssi – Bass
Michael Stuart – Drums, Percussion, Vocals
Although Lee wrote the bulk of the material on the album, the opener and most well known track, “Alone Again Or” was written by MacLean. It contains nice Spanish acoustic with brass rudiments, which alternate with cool, bass-driven verses held together by bassist Ken Forssi. This was the sole single released from the album to reach the Billboard singles chart, with a re-issue peaking at No. 99 in 1970. MacLean’s other contribution to the album is “Old Man”, another Mexican-influenced folk song with strategic brass and some lyrical references to Christianity.
“A House Is Not a Motel” is a strong acoustic rocker with the definitive 1960s California sound until later exploding into a heavier electric sound led by guitarist Johnny Echols. It contains cynical lyrics by Lee with images of war and violence. “The Daily Planet” seems to have been both influenced by The Beatles’ Revolver, while in turn becoming a great influence on some future numbers by The Who. Neil Young, who was originally slated to co-produce the album, only stuck around long enough to arrange this track. The album’s first side concludes with the psychedelic-fused “The Red Telephone” with some really interesting chord changes but almost nonsensical lyrics. This song has been called a “paranoid nursery rhyme”.
“Maybe the People Would Be the Times or Between Clark and Hilldale” starts side two with a pessimistic look at “flower power”, while “Live and Let Live” follows as a more melodic political ballad with musically progressive sections, good melodies, and some lead electric guitar by Echols. “The Good Humor Man He Sees Everything Like This” reflects the hippie culture of the day, in which Lee was deeply entrenched, but with a foreboding sense of doom with the threat of the draft and war.
Not really a “bummer” at all, the upbeat and infectious “Bummer in the Summer” is a short acoustic rocker where Lee does a Bob Dylan-like “sing-talk”. The album ends with its only extended track, the seven-minute “You Set the Scene”. Forssi and drummer Michael Stuart provide a driving rhythm through the verses, much like Beatles’ “Tomorrow Never Knows” from Revolver. The songs morphs into a multi-part mini-suite with later parts with horns, strings, and a contrasting melody, including a free styling “rap”, which may be the first ever on record.
Despite the artistic achievement of Forever Changes, the inner turmoil in Love continued. MacLean quit the band shortly after the album’s release and, while Lee made several more albums with a new version of the band, by the early 1970s Love was no more.
Part of Classic Rock Review’s celebration of the music of 1967.