Hi everyone, Ross Lincoln here, again.
GFD*, it turns out that while I was busy sitting around doing nothing, Arthur Lee died today.
(Now Playing: The Red Telephone, by Love)
The VH1 version of his life is as follows: Arthur Lee was a genius, there’s no doubt of that. He was also a violent drug addict who ruined his gifts, his health and his sanity over the course of nearly 30 years of various addictions, and then managed near the end of his life to defy the odds and resurrect his reputation, career and life before dying anticlimactically, today, of cancer.
The personal version is as follows: Arthur Lee was for a very short period of time, the lead singer and songwriter of Love, a band of a godlike genius whose music changed my life. Arthur Lee also had some tremendously awful flaws which, thankfully, didn’t end up killing him and unlike too many mad geniuses, he actually lived to experience the adulation and respect his good work deserved.
The band he’s famous for, Love, experienced approximately 2 years of noteworthy creative brilliance - their first success was a cover of Burt Bacharach’s “My Little Red Book” in 1966. 1967 they released two albums, the experimental Da Capo, and their masterpiece Forever Changes. Soon after, Arthur flipped out, fired everyone and went insane for 3 decades.
Love, along with the music of The Left Banke, (about whom I’ll talk about some other time,) changed the way I thought about the late 60s. This didn’t happen immediately, unfortunately. The first Love song I ever heard was The Damned’s brilliant cover of Alone, Again, Or, which you can find on their 2 disc compilation The Light At The End of the Tunnel.
I first heard the Damned’s version of this song in 1989, and being somewhat musically ADD, it wasn’t until 1996 that it actually occurred to me to go looking for the original version, to find out who this band was that the Damned (and Pulp, and other bands I respected) were so hungry about. Thanks to a used import version of one of their CDs I borrowed from a friend even nerdier about music than I am in early 1998, I heard the original version of the song, and I’ve been in love with them ever since.
I had always felt that despite so much good music immediately prior to it, the late 60s period was filled largely with the worst American Music had to offer. (Yes, I really hate Janis Joplin, the Dead, Jefferson Airplane, and any doors song where Jim is allowed to act like the Douche laureate.) I still feel that this period is the most pathetically self-congratulatory era in popular music. It was, let’s be frank, a time when even Jim Morrison peeing into Paul McCartney’s ears would be hailed as a work of transcendent genius.
That’s why to my ears, it’s the music that defies the era’s conventions that is the most riveting, and with the exception of Scott Walker, Love is the period’s most convention defying band. When I say that Forever Changes is a masterpiece, I don’t say so lightly. It is one of the few records released during the era absolutely worthy of the title.
If you haven’t heard Forever Changes before, I suspect it’s because it’s an interesting album that contains virtually no hippie cliches, which means self congratulatory baby boomers ignore it, and oldies stations won’t play it. At the time, it was released largely to the sound of crickets chirping. Fortunately, over the decades to come it would be recognized for the brilliance it is and would end up influencing everyone from Pulp and Belle and Sebastian to pretty much every modern Los Angeles Based band. (See Greg? Your love of B&S really was long overdue!) Forever Changes is amazingly timeless, filled with surreal lyrics, beautiful string arrangements, rhythmic unpredictability and studio experimentation that were decades ahead of its time.
Unfortunately, Arthur Lee also had a cocaine habit decades ahead of its time too, and it pretty much fried his brain. He melted down in 1968, fired the entire band and hired scabs. Love’s next recordings sounded like Grateful Dead San Fransisco Sound bullshit and Love received the punishment the Dead richly deserved but never got: nobody listened to them. Lee spent the 70s and 80s drifting in and out of drug induced stupors and brushes with the law until 1996, when he threatened a neighbor with a gun, was arrested for illegal possession of a firearm and was third-striked into a prison sentence.
The only good thing about that is that he cleaned up, and when he got out of lock down in 2001, he formed a new version of Love and discovered that during the 5 years he was in jail, his reputation and critical evaluation had drastically improved. He formed a new version of Love that was actually good and achieved a small measure of the success that eluded him during his lost decades.
I wish I had more to say. While I never realistically expected Arthur Lee to again create on the level of his youth, I’m sad that he didn’t get more time to enjoy the fruits of his faded brilliance.
If you haven’t listened to Love before, go out and purchase Love Story 1966-1972, which is a pretty comprehensive and also, coincidentally, pretty amazing box set. If anyone reading this is unfamiliar with them and wants to dabble before purchasing, send me an e-mail and I’ll be happy to send you an MP3 for your enjoyment.
UPDATE. Friend of the Talent Show Steveaudio has a great post about Arthur Lee over at his site, and it has the added benefit of being from the perspective of someone who actually experienced Love during their Sunset Strip Days. (Also interesting to note they were contemporaries of the Doors, who I don’t hate as much as I think Jim morrison was a wanker extraordinaire.)
*It’s ancronym. Figure it out.