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DISCID=7b0a0a0b
DTITLE=Love / Forever Changes (Rhino Replicas Edition)
DYEAR=1967
DGENRE=
TTITLE0=Alone Again Or
TTITLE1=A House Is Not A Motel
TTITLE2=Andmoreagain
TTITLE3=The Daily Planet
TTITLE4=Old Man
TTITLE5=The Red Telephone
TTITLE6=Maybe The People Would Be The Times Or Between Clark And Hilld
TTITLE6=ale
TTITLE7=Live And Let Live
TTITLE8=The Good Humor Man He Sees Everything Like This
TTITLE9=Bummer In The Summer
TTITLE10=You Set The Scene
EXTD=Forever Changes (Rhino Replicas Edition)\n2006 Warner Bros./Rhino
EXTD=\n\nOriginally Released 1967\nCD Edition Released 1987 ??\nRemast
EXTD=ered + Expanded Special CD Edition Released February 20, 2001\nRh
EXTD=ino Replicas Mini LP CD Edition Released December 26, 2006\n\nAMG
EXTD= EXPERT REVIEW: It wasn't a hit, but Forever Changes continues to
EXTD= regularly appear on critics' lists of the top ten rock albums of
EXTD= all time, and it had an enormously far-reaching and durable infl
EXTD=uence that went way beyond chart listings. The best fusion of fol
EXTD=k-rock and psychedelia, it features Arthur Lee's trembling vocals
EXTD=, beautiful melodies, haunting orchestral arrangements, and inscr
EXTD=utable but poetic lyrics, all of which sound nearly as fresh and 
EXTD=intriguing upon repeated plays. One of rock's most organic, flowi
EXTD=ng masterpieces, every song has a lingering, shimmering beauty, i
EXTD=ncluding the two penned by the band's other talented songwriter/g
EXTD=uitarist/singer, Bryan MacLean. [The 2001 expanded reissue on Rhi
EXTD=no adds seven bonus tracks: the 1968 single "Your Mind and We Bel
EXTD=ong Together"/"Laughing Stock," the genuine Forever Changes outta
EXTD=ke "Wonder People (I Do Wonder)," the demo "Hummingbirds" (essent
EXTD=ially an instrumental version of "The Good Humor Man He Sees Ever
EXTD=ything Like This"), and alternate mixes of "Alone Again Or" and "
EXTD=You Set the Scene." These really aren't too essential, the best o
EXTD=f the lot being "Wonder People (I Do Wonder)," a lighthearted num
EXTD=ber that's somewhat similar to "Maybe the People Would Be the Tim
EXTD=es or Between Clark and Hilldale" (which did end up on Forever Ch
EXTD=anges). The alternate mix of "You Set the Scene" has a few intere
EXTD=sting additional vocal interjections at the end, but the differen
EXTD=t mix of "Alone Again Or" is diminished by awkward edits of the i
EXTD=nstrumental passages. The 24-page booklet of historical liner not
EXTD=es is a good addition, though.] -- Richie Unterberger\n\nAMG EXPE
EXTD=RT REVIEW: There's a certain school of thought that considers Lov
EXTD=e's Forever Changes to be as great an album as Sgt. Pepper, and i
EXTD=t's not that hard to agree, since the Los Angeles band summed up 
EXTD=the beautiful hippie vibe of '67 better than Beatles whimsy. Plus
EXTD=, the group turned in a marvelously idiosyncratic album that sums
EXTD= up the feeling of that year perfectly, while feeling tremendousl
EXTD=y out of time -- a saga of peace, love, and understanding that tr
EXTD=anscends its time by being so thoroughly of it. Forever Changes i
EXTD=s essential listening, whether in its original incarnation or par
EXTD=t of Rhino's wonderful double-disc Love Story or the label's delu
EXTD=xe 2001 reissue. The reissue is augmented by two alternate mixes,
EXTD= an outtake called "Your Mind and We Belong Together" (illuminate
EXTD=d by studio breakdowns and chatter), a demo of "Hummingbirds," th
EXTD=e outtake "Wonder People (Do I Wonder)," and "Laughing Stock." Th
EXTD=e bonus tracks are really only interesting to the unconverted, an
EXTD=d they couldn't really change the character of an album that's so
EXTD= dense and fascinating on its own that it's impossible to better.
EXTD= Still, these are wonderful additions for the dedicated, and even
EXTD= if they're not necessary, they're welcome. And the fact remains 
EXTD=-- anything that brings an audience to the most universally ackno
EXTD=wledged underappreciated classic is welcome, even if the basic or
EXTD=iginal album makes a case for its greatness as much as this, and 
EXTD=the bonus tracks are simply something for the diehards. -- Stephe
EXTD=n Thomas Erlewine\n\n\nAmazon.com Editorial Review\nOne of rock's
EXTD= most overlooked masterpieces, this third album by the L.A. folk-
EXTD=rock outfit led by inscrutable singer-songwriter Arthur Lee sound
EXTD=s as fresh and innovative today as it did upon its original relea
EXTD=se in 1968. With David Angel's atmospheric string and horn arrang
EXTD=ements giving the work a conceptual underpinning, Lee explores ma
EXTD=instream America's penchant for paranoia ("The Red Telephone") an
EXTD=d violence ("A House Is Not a Motel") with songs that are as soni
EXTD=cally subtle and lilting as they are lyrically blunt and harrowin
EXTD=g. Add two gems by Love's secret weapon, second guitarist Bryan M
EXTD=acLean ("Alone Again Or" and "Old Man"), and you've got one of th
EXTD=e truly perfect albums in rock history. Rhino's deluxe reissue se
EXTD=rves up seven bonus tracks, including outtakes, alternates, and t
EXTD=he "Your Mind and We Belong Together"/"Laughing Stock" single. --
EXTD=Billy Altman \n\nAMAZON.COM CUSTOMER REVIEW\nChanges forever, yeh
EXTD=. . . Arthur Lee's LA masterpiece , April 3, 2007\nReviewer: J. G
EXTD=unning "Allhallowsday" (Midst the Oaks of SRH)\nOne must be in th
EXTD=e right frame of mind for LOVE's unique album Forever Changes. It
EXTD='s all breezy guitars, lush orchestrations, Tijuana brass, no rea
EXTD=l hard rock, and haunting tunes woven together into an eerie semi
EXTD=-arid urban tapestry that demands and requires your attention. I 
EXTD=had special-ordered this legendary record decades ago on vinyl (i
EXTD=t never went out of print). Listening to this LP at 18 or so, abo
EXTD=ut 10 years after its release, I was not yet sophisticated enough
EXTD= to appreciate the musical depth. I was listening to the New Wave
EXTD=, and an old hand at 60s and 70s Rock, and at the time was bored 
EXTD=by it. Now I realize Forever Changes is simply a beautifully real
EXTD=ized personal statement (Arthur Lee's) including his comments upo
EXTD=n being a black man in a largely "white" subculture - L.A.'s acid
EXTD=-rock, country-western, and psychedelic bands, particularly those
EXTD= bands playing at the Whiskey-A-Go-Go - plus his own passion for 
EXTD=that city (he later said he felt the songs were about his expecte
EXTD=d impending death - which has yet to happen). A real summer night
EXTD= driving record, LOVE Forever Changes is a sultry delight, a reli
EXTD=c and microcosm, a time capsule and breaking chrysalis . . . this
EXTD= is a great, tuneful record of happenstance, almost outsider-art 
EXTD=for its lack of significant commercial success, and may possibly 
EXTD=be one of your undiscovered loves. \nThank goodness for Elektra w
EXTD=ho not only discovered Detroit bands THE MC5, and THE STOOGES, bu
EXTD=t particularly Whiskey-A-Go-Go bands like THE DOORS and LOVE. Tha
EXTD=nk goodness for RHINO re-issuing Forever Changes with the bonus t
EXTD=racks (including "Hummingbird" and LOVE's last single "Your Mind 
EXTD=And We Belong Together" b/w "Laughing Stock.") \n\n\nAMAZON.COM C
EXTD=USTOMER REVIEW\ngreat bonus tracks, February 21, 2001 \nReviewer:
EXTD= mauro j felipe from n.y., new york United States\nthis review is
EXTD= intended for those already in the know. thus, i will only deal w
EXTD=ith the unreleased stuff here. first of all, i feel the bonus mat
EXTD=erial is a revelation and reason enough to purchase this cd (as i
EXTD=f the improved sound of the original disc weren't reason enough).
EXTD= the first bonus track, "hummingbirds", is a da capo era outtake.
EXTD= it amounts to an instrumental demo of "the good humor man..." th
EXTD=e stripped down 2 guitar and bass instumentation really brings ou
EXTD=t the subtleties of the tune. the guitar playing is great and you
EXTD= get to hear a little arthur quote at the end of the demo. the ne
EXTD=xt track "wonder people (i do wonder)" will be familiar to the ow
EXTD=ners of arthur lee's 1981 self titled album on rhino records. whi
EXTD=le this song sounds a little less polished than the cuts that mad
EXTD=e the official "forever changes" album, it is still an nice liste
EXTD=n. arthur's vocal is pretty flat, but then again this isn't finis
EXTD=hed product. maclean's acoustic soloing really shines on this tra
EXTD=ck as well. the "alone again or" alt. mix is, unfortunately, not 
EXTD=the maclean lead vocal mix i was hoping for. apparently, that mix
EXTD= has been lost. the next track is an alt. mix of "you set the sce
EXTD=ne" which features a previously unheard vocal out section during 
EXTD=the last minute of the song. it doesn't improve the song, but is 
EXTD=interesting none the less. now on to the "your mind and we..." tr
EXTD=acking sessions. this stuff is great. lots of arthur lee instruct
EXTD=ing his band on how to perform the song, take after take. it's co
EXTD=ol to hear arthur's instructions as the song slowly comes togethe
EXTD=r. eventually the band gets through the tune but echols' solo is 
EXTD=not "on". arthur asks him what his trip is.. and the solo is cut 
EXTD=again. later on the cd, at the end of the 45 version of the tune,
EXTD= you can hear arthur congratulating echols on a great solo. as a 
EXTD=side note, i once read that nobody in love besides arthur lee cou
EXTD=ld verify if they had personally played on "your mind and we...".
EXTD= after 44?!?? takes you'd think SOMEONE would remember this sessi
EXTD=on. blame it on the brown acid i guess. so that's it folks. i hig
EXTD=hly recommend these bonus tracks, as they've given me a new insig
EXTD=ht into the creative process behind this must own cd. enjoy.\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nForever Love, March 14, 2002\nReviewer
EXTD=: Robert Cossaboon "devil doll" (The happy land of Walworth, NY)\n
EXTD=I love this album! It's gorgeous: completely, utterly and absolut
EXTD=ely. It's one of the most perfect pieces of music ever committed 
EXTD=to tape, vinyl or CD. Out of all the summer of love albums to hav
EXTD=e come out, this is the one that strikes the strongest chord of k
EXTD=inship inside me. I don't know what it's like to have cavorted ab
EXTD=out in dippy-hippy peace, man style, but I DAMN sure know what it
EXTD='s like to be lonely and to be the man who sees things from the o
EXTD=utside. \nBut do not be fooled. This is not a sad album in any wa
EXTD=y. Like how that totally awesome album cover portrays, it is life
EXTD= itself, a swirling menagerie of colors, moods and emotions. Can 
EXTD=anyone doubt this after the way the first song, "Alone again or" 
EXTD=begins with that quiet accoustic guitar and then knocks you right
EXTD= out in the middle with that majestic horn solo?\nThroughout the 
EXTD=album, our singer is sad, but never downtrodden. There is a perki
EXTD=ness even in the really delicate songs like "Andmoreagain" and "T
EXTD=he Good Humor Man He Sees Everything Like This"-the latter one of
EXTD= the most gorgeous songs about summer ever written. Even with the
EXTD= two rockers, "A House Is Not A Motel" and "Live And Let Live", t
EXTD=he mood is subdued, the anger is controlled and aimed carefully l
EXTD=ike a pointed finger.\nThen there are the really bubbly songs: "B
EXTD=etween Clark and Hillsdale" makes you want to cha-cha past your o
EXTD=wn local bunch of sidewalk stores right after you get out of work
EXTD= while there're still a couple hours of summer sun left; and "You
EXTD= Set The Scene" has to be one of the greatest signature songs of 
EXTD=the era. It's one of those majestic march of life songs. Our sing
EXTD=er, even in his darkest moment of loneliness where he is talking/
EXTD=longing to an old photograph of a girlfriend (and who among us ha
EXTD=s never experienced this?), is able to rally an existential optim
EXTD=ism of being part of a greater whole-life. Well, when you listen 
EXTD=to the song, you see what I mean.\nDo the bonus tracks do it for 
EXTD=the album? Yes, and no. They do not in manner flaw the original i
EXTD=ntegrity Forever Changes, I'm just not sure if they enhance it th
EXTD=at much. "Hummingbird" is excellent, because we see something alr
EXTD=eady great on its way to greatness. "Wonder People" is intersting
EXTD=, because it's an outtake and you have to wonder how many of thos
EXTD=e are still floating around. "Laughing Stock" is a pointless addi
EXTD=tion; I never liked that song very much in the first place. "Your
EXTD= mind and me belong together" is noteworthy because it was the la
EXTD=st song the Forever Changes lineup recorded before they disintegr
EXTD=ated into memory. The guitar solo is pretty cool, but once again 
EXTD=it does nothing to enhance the album. As for the remixes, I can t
EXTD=ell no difference, except for that bizarre rap sequence they tagg
EXTD=ed onto the alternate version of "You Set The Scene" and the coup
EXTD=le extra seconds of strings at the song's end.\nHaunting, eerie, 
EXTD=chirpy, and bubbly Forever Changes is never a let-down; only afte
EXTD=r that final horn section marches off from your ears do you feel 
EXTD=the come-down. \nRolling Stone said it the best: Forever Changes 
EXTD=is "indescribably essential".\n\n\nAMAZON.COM CUSTOMER REVIEW\nFe
EXTD=ar And Loathing, April 14, 2007\nReviewer: Mr. H. C. Orr "Lhasa A
EXTD=pso/Terrier cross" (Sleeping outside at night)\nThe 60s were as m
EXTD=uch about fear and loathing as peace and love. Great music from t
EXTD=he 60s reflects both these trends. Los Angeles-based Love's third
EXTD= album, "Forever Changes", was released in 1967, in the wake of T
EXTD=he Summer Of Love. Whilst Hollywood remained largely silent, West
EXTD= Coast artists such as Jefferson Airplane, The Grateful dead, fra
EXTD=nk zappa, The Doors and Tim Buckley produced works that often dea
EXTD=lt with the dark side of the American Dream: Airplane satirised, 
EXTD=Zappa mocked, but all sensed that something was changing, and ind
EXTD=eed had to. Love's "Forever Changes" is one of the overlooked mas
EXTD=terpieces of 60s pop music: themes of beauty and death combine to
EXTD= create one of the most compelling cocktails of dread and wonder 
EXTD=in all pop music. The apocalyptic vision of "AndMoreAgain" stands
EXTD= for the entire album: a promise of fragile Elizabethan beauty at
EXTD= the same time as a Karmic threat that what we experience in this
EXTD= life shall follow us forever. \n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=Forever Changes: rock perfection, Los Angeles frozen in time, Nov
EXTD=ember 11, 2006\nReviewer: R. Lindeboom "theboomer" (Cambria, CA U
EXTD=SA)\nAs some here have said: Love was Jim Morrison's favorite ban
EXTD=d and it was Love's Arthur Lee who convinced Jac Holzman to sign 
EXTD=The Doors to Elektra Records. After the Beach Boys swam ashore fo
EXTD=r a rest and before The Doors would break on through to the other
EXTD= side, there was a magical time in Los Angeles where The Byrds, T
EXTD=he Music Machine, Love and The Mothers of Invention ruled the cit
EXTD=y's airwaves. I saw each of them many times and one night I saw w
EXTD=hat I still consider to be the ultimate Los Angeles concert line-
EXTD=up: The Byrds (on their "Younger Than Yesterday" tour), Love (tou
EXTD=ring "Forever Changes") and Sweetwater, (who had just released th
EXTD=eir first, self-titled album). It was an amazing night and one I 
EXTD=will always be grateful to have been in attendance at. This album
EXTD=, Forever Changes, has now been played so many times that it long
EXTD= ago attained legendary status and generations of listeners now a
EXTD=ttest to the power, mysticism and beauty of this album. Born out 
EXTD=of the heartache and confusion of an Arthur Lee who felt that he 
EXTD=would soon die, it addresses topics that few rock albums have eve
EXTD=r had the courage or forthrightness to explore. A friend of mine 
EXTD=once told me that when he listened to this album he felt that "Go
EXTD=d was talking to me." I smiled when he said that as I had had tha
EXTD=t same thought more than a few times over the years. But it's not
EXTD= the God of a religious piety so saccharine that it will give you
EXTD= cavities; no, this is the naked and brutal mortality of man wres
EXTD=tling with his fears in the face of a blinding timelessness and s
EXTD=cope he cannot understand nor feel comfortable in the presence of
EXTD=. It is at times, frightening and starkly bleak and nihilistic in
EXTD= its view. At other times, it is as hopeful as a butterfly spring
EXTD=ing with brightly colored wings, fresh from its insular cocoon. B
EXTD=ut it's always done with a freshness and vitality in the music th
EXTD=at was purely Los Angeles and which never happened again, anywher
EXTD=e or anytime else. If I were to cull my thousands of albums down 
EXTD=to just a handful, this would be one of them. There are few album
EXTD=s that were ever this good. Love was unique and will always be. I
EXTD= once met Arthur Lee at a hot dog stand in Los Angeles where we w
EXTD=ere both having lunch. He came up and sat next to me and I looked
EXTD= over and realized who it was and said: "Hello, Arthur." He looke
EXTD=d back and smiled a very shy smile and said "Hello." He was quite
EXTD= friendly though very shy. He was kind. I know from books and com
EXTD=ments of ex-band members that he was not always that way but I th
EXTD=ink his art haunted him and he fought hard for his songs and his 
EXTD=craft. The battle within him was never so starkly realized or com
EXTD=municated as it was on this album. Farewell, Arthur, I hope that 
EXTD=you found peace, at last.\n\n\nAMAZON.COM CUSTOMER REVIEW\nOne OF
EXTD= Arthur Lee's Finest Moments, June 16, 2006\nReviewer: Richard S.
EXTD= Ledford "Swing Out Fan" (Provo, Utah)\nI bought the expanded / r
EXTD=emastered version of this C.D. a couple of years ago. It contains
EXTD= extensive liner notes (which I still have not read). I wanted to
EXTD= write this review before I read the liner notes so I would not b
EXTD=e biased or influenced in my own comments toward the album. \n\nF
EXTD=orever Changes (January 1968) is truly one of the unique, hidden 
EXTD=gems of the late sixties by one of rock music's first racially in
EXTD=tegrated bands. I was first exposed to the album in 1969 when my 
EXTD=older brother used to play his copy on eight-track tape! Love's p
EXTD=revious album from 1967, Da Capo, was lighter and more "trippy," 
EXTD=and in keeping with other music from the "summer of love" year. C
EXTD=heck out such tracks as 7 And 7 Is, Orange Skies and She Comes In
EXTD= Colors. However, while Da Capo was a great album, Forever Change
EXTD=s is OUTSTANDING! It resulted in Arthur Lee's finest musical and 
EXTD=lyrical moments. Even today you can hear the song, Alone Again Or
EXTD=, played on satellite stations in malls across America (although 
EXTD=Alone Again Or was written by Love's other vocalist and songwrite
EXTD=r, Bryan MacLean who wrote two tracks on the album). \n\nForever 
EXTD=Changes is a "deep" and moody album with esoteric, surreal and so
EXTD=cially conscious lyrics which cannot be thoroughly understood. Ev
EXTD=en some of the song titles have a surreal quality to them. Some o
EXTD=f the topics expressed in the lyrics include war, materialism, te
EXTD=rritoriality, alienation, loss of individuality and identity, per
EXTD=sonal freedom, sage wisdom and yes, even love (no pun intended)! 
EXTD=Vivid lyrical imagery permeates all the songs. \n\nMusically, the
EXTD= album is a melange of psychedelic folk-rock, classical forms and
EXTD= even a tinge of jazz. The melodies are hauntingly and wistfully 
EXTD=beautiful with both acoustic and electric guitars as well as comp
EXTD=lex rhythms at times. In fact, the fade-ins and fade-outs and pro
EXTD=duction effects at the end of "The Good Humour Man He Sees Everyt
EXTD=hing Like This" sound like there are "skips" in the music! The st
EXTD=rings and horns add to the haunting quality of the album. This is
EXTD= a great album to listen to on rainy, summer days! \n\nThis album
EXTD= rates with some of the finest albums of the day, including Sgt. 
EXTD=Pepper's..., Pet Sounds, Days Of Future Passed and Odessey And Or
EXTD=acle. If you haven't heard this album you have missed out on a si
EXTD=gnificant slice of pop culture!\n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=The Emperor's (Old) Clothes, December 1, 2003\nReviewer: R. Potte
EXTD=r (Buffalo, NY USA)\nLet me start by saying that this is a good--
EXTD=a very good--album, and one that was certainly underappreciated f
EXTD=or the better part of 20 years. But it's -not- as good as its cul
EXTD=tists suggest, and here's why.\n1) Focus. I realize that one of t
EXTD=he joys of FC is its scrambled, wandering quality, but too many c
EXTD=uts here lack musical coherence. Dynamics shift without apparent 
EXTD=purpose, and several songs squander their tension before accompli
EXTD=shing anything. It's the kind of mistake a second-string psychede
EXTD=lic band like Cream made a lot, and that a first-string band like
EXTD= the Beatles seldom did.\n\n2) Vocals. No truly great rock album 
EXTD=can be made without pretty darn good singing, and the albums to w
EXTD=hich FC is most often compared--Sgt. Pepper, Pet Sounds, Odessey 
EXTD=and Oracle, Volunteers, Five Leaves Left--all highlight exception
EXTD=al vocalists. Arthur and Bryan are capable enough within the boun
EXTD=ds of a certain style, but it's very mannered, and it wears: it's
EXTD= the kind of portenteous folkie-troubadour intonation that you ge
EXTD=t with the early Tim Buckley (or the early Justin Hayward) and lo
EXTD=ads of lesser schleps like Scott McKenzie. The singing on FC gene
EXTD=rally lacks variety, subtlety, power, and insight; when it works,
EXTD= it does so by not intruding too much on the music.\n\n3.) Lyrics
EXTD=. FC's lyrics, heard out of context, might well be taken for a -s
EXTD=atire- of high psychedelia rather than its best expression. While
EXTD= fans of the album make much of its songs' lyrical swings from su
EXTD=nny to morbid and back, Arthur's reach-for-the-rhymes technique f
EXTD=requently feels both contrived and incoherent, rather than cosmic
EXTD=. Sometimes there's not a whole lot separating the lyrical conten
EXTD=t of FC from that of, say, an average Strawberry Alarm Clock reco
EXTD=rd.\n\n4.) The "Grab Factor." Even the sprawliest and most diffic
EXTD=ult psychedelic masterpieces (see above for some suggestions) hav
EXTD=e a solid handful of songs that stick in the mind from the get-go
EXTD= and demand to be listened to again and again RIGHT NOW. With the
EXTD= exception of "Alone Again Or" there's not a single cut on FC tha
EXTD=t's a standalone, world-class attention-getter. The album relies 
EXTD=on texture and cumulative effect for its impact, which is all wel
EXTD=l and good, but it hardly cries out to be called the stuff of gen
EXTD=ius.\n\nAgain, I should point out that I do like this record quit
EXTD=e a bit. But I think some of the rabid excitement that surrounds 
EXTD=it has more to do with its long period of relative obscurity and 
EXTD=the fact that Arthur Lee (like Alex Chilton and Roy Wood) is the 
EXTD=kind of f'ed-up, eccentric, manque talent that rock geeks never t
EXTD=ire of "rediscovering" and "vindicating." Buy FC? Absolutely. But
EXTD= don't count on it to change your life.\n\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nOne of the Best Rock Albums Ever made - FINALLY remastere
EXTD=d, April 2, 2003\nReviewer: A music fan\nLike the title says, thi
EXTD=s album is a completely flawless example of 60's folk-rock that e
EXTD=asily eclipses some of the best work of CSN&Y, The Doors (who sha
EXTD=red a label and a producer), and The Grateful Dead. \nHow exactly
EXTD= a band as fractious and strangely put together as this one could
EXTD= possibly do something of such magnitude is almost unimaginable t
EXTD=o me. Clearly, much of the credit should be given to lead writer/
EXTD=singer/coproducer Arthur Lee, who can be heard patiently waiting 
EXTD=for the sound he wants on some of the outtakes that are included.
EXTD= Two of the more touching songs from this album are written by Br
EXTD=ian MacLean (see: "If You Believe In"), who is tragically overloo
EXTD=ked in almost any conversation about the band.\nThis album mixes,
EXTD= mashes and shakes together a variety of different styles of musi
EXTD=c and emerges as something wholly unique. While clearly folk-rock
EXTD=, this album shows obvious jazz influences and is certainly more 
EXTD=than the sum of its parts. Other reviewers have commented on the 
EXTD='depressing' tone of the album and I feel that is somewhat accura
EXTD=te, though the album is also starkly beautiful. If you insist on 
EXTD=listening to solely upbeat music that is Beach Boys-esque you wil
EXTD=l hate this album. There is no surfing, there are no woodies and 
EXTD=the snot has caked against your pants.\nThe original CD release o
EXTD=f this album was horribly done, with a high-frequency whine audib
EXTD=le on every single track; a great injustice to be sure. This rele
EXTD=ase sounds fresh and includes wonderful outtakes and demos ("Humm
EXTD=ingbirds", "Laughing Stock") that are almost worth the cost of th
EXTD=e album alone. If you enjoy ANY part of 60's rock or folk music, 
EXTD=this should be one of the first albums you buy. \n\nAlas, none of
EXTD= the bands other work rivals this superb effort (but then, not mu
EXTD=ch else does), though "Da Capo" is also quite good.\n\n\nCD Now R
EXTD=eview (February 19, 2001)\nThe members of Love had talent to burn
EXTD= -- and burn it they did. Thanks to a litany of missteps -- perso
EXTD=nnel switches, a stubborn refusal to tour, rampant drug abuse -- 
EXTD=Love exhausted most of its creative fuel within a scant three yea
EXTD=rs. The jewel of an erratic catalog, the just-reissued Forever Ch
EXTD=anges stands as the band's undisputed masterpiece. \nEarly kingpi
EXTD=ns of L.A.'s acid underground, Love rose to mid-'60s fame with a 
EXTD=skewed blend of folk-rock and punk, best heard in the hits "My Li
EXTD=ttle Red Book" and "7 & 7 Is." A more baroque approach began to e
EXTD=merge on 1967's Da Capo, but the lush orchestrations of Forever C
EXTD=hanges still must have been a surprise. Tracks such as "A House I
EXTD=s Not a Motel," "Maybe the People Would Be the Times or Between C
EXTD=lark and Hilldale," and "Alone Again Or" churn with rhythmic sizz
EXTD=le -- but electric guitar is scarcely present, replaced instead w
EXTD=ith flamenco strums, mariachi trumpets, and vivid string arrangem
EXTD=ents. \n\nThe songs themselves -- mostly written by the group's e
EXTD=ccentric leader, Arthur Lee -- are brilliantly memorable, yet fol
EXTD=low their own strange, internal logic. Some tracks only contain v
EXTD=erses; others have verses and bridges, but never shift into choru
EXTD=ses. There are sharp tempo changes, modular tunes with discrete s
EXTD=ections, and post-Bacharach twists in melody. Two delicate ballad
EXTD=s -- "Andmoreagain" and "Old Man" -- are so traditionally pretty,
EXTD= they're better suited for Broadway than the Sunset Strip. \n\nLe
EXTD=e's elusive, stream-of-consciousness lyrics are almost as unusual
EXTD=, avoiding hippie utopianism for darker thoughts about relationsh
EXTD=ips, urban life, and his own inner dissolution (Lee had a premoni
EXTD=tion that he would die shortly, and conceived the album as his fa
EXTD=rewell). Yet, he often lightens the mood with surreal whimsy. Wit
EXTD=ness "Live and Let Live," which has one of pop's greatest opening
EXTD=s ever: "Oh, the snot has caked against my pants / It has turned 
EXTD=to crystal." \n\nHardly a smash when released in November of 1967
EXTD=, Forever Changes reached only No. 154 on the Billboard charts, a
EXTD=nd didn't even match the initial sales of Love's previous albums.
EXTD= However, its influence continues to grow, and the songs have bee
EXTD=n covered by artists ranging from the Damned to Teenage Fanclub, 
EXTD=U.F.O., and Yo La Tengo. \n\nRhino's earlier Love anthology conta
EXTD=ins the entire Forever Changes album, so the label boosts this ve
EXTD=rsion's allure with seven bonus tracks. Unfortunately, the catchy
EXTD= but lyrically slight "Wonder People (I Do Wonder)" is the only c
EXTD=hoice rarity. Other extras are the subsequent "Your Mind and We B
EXTD=elong Together"/"Laughing Stock" single (essential, but also anth
EXTD=ologized); two trivially different mixes; an instrumental demo of
EXTD= "The Good Humor Man He Sees Everything Like This"; and a montage
EXTD= of aborted takes that doesn't warrant a second listen. Be warned
EXTD=, though: The bulk of the album is considerably more addictive. -
EXTD=- Eric Broome, CDNOW Contributing Writer\n\nIncluded in Q Magazin
EXTD=e's Best Psychedelic Albums of All Time (8/99) \n\nNew Musical Ex
EXTD=press (10/2/93, p.29) - Ranked #18 in NME's list of the 'Greatest
EXTD= Albums Of All Time.' \n\nQ Magazine (8/99, p.138) - "...whenever
EXTD= lists are compiled for greatest album of all time, FOREVER CHANG
EXTD=ES has its advocates....exquisite tunes...a rather elaborate Summ
EXTD=er of Love chamber piece..." \n\nMojo (3/01, p.89) - "...'The' ke
EXTD=y '60s album....Totally suffused in acid: being full of bizarre j
EXTD=uxtapositions, perceptual tricks, multiple viewpoint lyrics, ligh
EXTD=tning fast, almost schizoid changes of mood and topic, the person
EXTD=al fusing with the universal..." \n\nNME (2/17/01, p.45) - 10 out
EXTD= of 10 - "...An album of awesome intensity and tenderness....baro
EXTD=que and beautiful folk-rock the like of which had never been hear
EXTD=d before - nore been bettered since..." \n\n\nCD Connection.com R
EXTD=eview\nFOREVER CHANGES is also included in its entirety on the 2 
EXTD=disc set LOVE STORY 1966-1972. \n\nLove: Arthur Lee, Bryan Maclea
EXTD=n (vocals, guitar); John Echols (guitar); Ken Forssi (bass); Mich
EXTD=ael Stuart (percussion). \n\nIncludes liner notes by Ben Edmunds.
EXTD= \n\nThe continuing deep affection for this gem is no fluke. Its 
EXTD=universal appeal to rock critics earns its position even though t
EXTD=otal sales have yet to exceed a million. The enigmatic Arthur Lee
EXTD= created the perfect hippie album, with joyous acoustic melody, s
EXTD=trings and occasional biting guitars. The paradox was for Lee to 
EXTD=sing a line such as 'oh the snot has caked against my pants, it h
EXTD=as turned to crystal' and for it to sound absolutely right and si
EXTD=ncere. The equally arresting 'Alone Again Or' features the line '
EXTD=I could be in love with almost everyone', yet somehow avoids soun
EXTD=ding like a hippie cliche. For anybody not familiar with this rec
EXTD=ord, it is unconditionally recommended as one of the greatest eve
EXTD=r made. \n\n\nROLLING STONE REVIEW\nFolks from the East Coast can
EXTD='t understand how we in the West never worshipped at the altar of
EXTD= the Velvet Underground. The reason is that the West Coast had ba
EXTD=nds that could be every bit as dark and mysterious, but with the 
EXTD=added advantage of being able to sing and play music. Perhaps the
EXTD= best of these amid the mid-Sixties Sunset Strip scene was Love, 
EXTD=whose disquieting clash of sunshine and noir defined the L.A. moo
EXTD=d the Doors later mined. Leader Arthur Lee is one of rock's great
EXTD= troubled men. When he rode his demons, Lee made '67's Forever Ch
EXTD=anges, one of the most distinctive masterpieces in that era of ma
EXTD=sterpieces. When his demons have since ridden him, he's plunged a
EXTD=t times into incoherent drifting, bumming change outside the club
EXTD=s he once ruled, and into his present troubles, serving a twelve-
EXTD=year prison sentence for firing a gun in the air, a sorry victim 
EXTD=of California's three strikes laws. On Forever Changes, Lee wrote
EXTD= and sang some of the most luscious melodies this side of the vin
EXTD=tage Bee Gees -- check out "Andmoreagain" -- butted against apoca
EXTD=lyptic visions of what lay beyond the Summer of Love, as on "The 
EXTD=Red Telephone" with its prophetic lyrics, "They're locking them u
EXTD=p today, they're throwing away the key/I wonder who it will be to
EXTD=morrow, you or me?" Rhino's remastered version of the album editi
EXTD=on brings out every nuance of the original recording, particularl
EXTD=y the flamenco flourish of the near-hit "Alone Again Or," while t
EXTD=he seven bonus tracks include demos, alternate takes, the band's 
EXTD=final 1968 single and a studio tape of Lee cajoling his band from
EXTD= the producer's chair, showing how driven his muse once was. (WAS
EXTD=HBURN -- Feb 21, 2001)
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