Love

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风格: #民谣摇滚　#车库摇滚　#迷幻摇滚
地区: United States of America 美国

艺人介绍

小档案

Arthur Lee,Guitar & Vocal

John Echols,Guitar

Bryan Maclean,Guitar & Vocal

Ken Forssi,Bass

Michael Stuart,Drummer&Percussion

其中Arthur Lee 同John Echols是黑人，而其余三人是白人。

小简介

1965年这历史上第一支黑白混合摇滚乐队成立于洛杉矶，并在第二年发行第一张同名专辑，其中大部分为 ArthurLee所做。Love的第一张专辑大约卖了10万多张，这是他们成为The Byrds之后洛杉矶的摇滚焦点。然而Love没能达到the byrds的高度，因为Arthur Lee不愿意离开洛杉矶去巡演。在洛杉矶，有当时David Crosby在的the byrds，1967年崇拜Love 乐队的Jim Morrison也组了自己的乐队，前后这两支及其优秀的大牌掩盖了Love的名气。Love自身也缺乏器乐高手，比不上当时冉冉升起的Jim Hendrix以及有Pete Townshend 和疯狂孩子Keith Moon的 the Who.但是在Forever Changes这张专辑中，歌曲结构的组织以及极具迷幻的梦呓般的歌词，加上乐队成员知耻后勇的超水平发挥，使之在1967这经典倍出的一年占有一席之地。虽然当时销量在100名之外，Forever Changes被评论家以及RollingStones,Mojo,Q等杂志给于高度评价。

具有白人嗓音的Arthur Lee说：当我制作这张专辑的时候，我总觉得我在那个特定时间内即将死去。我那时26岁了。我一直有这么一个念头，我将在26岁死去。还有些类似的事情，我感觉有些可笑。。。

实际上，当时的Lee才22，死亡似乎不应该是那个时代这个年纪的人所考虑的事情。当他召集乐队成员录制专辑时，他们正放纵在毒品和酒精上。

Lee对此说：我们曾经每个晚上都乾活。在我们开始赚钱后，我们赚得越多，就乾得越少，越不象一个乐队。一开始大家都听我的，因为我写了90%的歌。我们成功后，每人各自有了房子，凯迪拉克汽车，他们就不需要我了。钱毁了他们，也毁了我。

正是如此，在开始录制的时候，大伙糟糕极了。制作人找了几个录音室其他混饭吃的艺人在几小时内录制了两首。制作人Bruce Botnick说：当时他们都哭了。他们都震住了，开始忘记之间的矛盾重新变成一支乐队。

Ken Forssi则是这么回忆：我们突然意识到如果还不醒过来，我们就要完了。我们又在一起，在几首歌之后，熟悉的感觉回来了。我们又有了魔力，如同当初刚开始一般。

Forever Changes这张融合民谣和迷幻摇滚再加上管弦乐，美妙的旋律结合出彩的器乐，融合了洛杉矶的美丽和恐惧。Alone Again So仿佛一个人夜里走在公园内的孤单。A House is not A Motel让你走进Arthur Lee当时内心的黑暗。Andmoreagain，优美动听，那是一个女子的名字………

可这张经典就在那一年被忽略，它在商店里很快就消失了。

而1968年，在新单曲发行之前，Bryan Maclean离开了乐队。Arthur Lee于是将Love解散。

Arthur Lee曾以为自己即将死去，而死去的却是Love.Forever Changes代表了Love的巅峰同样也是Love逝去的休止符。

by Richie Unterberger

One of the best West Coast folk-rock/psychedelic bands, Love may have also been the first widely acclaimed cult/underground group. During their brief heyday — lasting all of three albums — they drew from Byrds-ish folk-rock, Stones-ish hard rock, blues, jazz, flamenco, and even light orchestral pop to create a heady stew of their own. They were also one of the first integrated rock groups, led by genius singer/songwriter Arthur Lee, one of the most idiosyncratic and enigmatic talents of the 1960s. Stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to tour until well past their peak. This ensured their failure to land a hit single or album, though in truth the bands vision may have been too elusive to attract mass success anyway.

Love was formed by Lee in the mid-60s in Los Angeles. Although only 20 at the time, Lee had already scuffled around the fringes of the rock and soul business for a couple of years. In addition to recording some flop singles with his own bands, he wrote and produced a single for Rosa Lee Brooks that Jimi Hendrix played on as session guitarist. Originally calling his outfit the Grass Roots, Lee changed the name to Love after another Los Angeles group called the Grass Roots began recording for Dunhill. Loves repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean.

Inspired by British Invasion bands and local peers the Byrds, Love built up a strong following in hip L.A. clubs. Soon they were signed by Elektra, the noted folk label that was just starting to get its feet wet in rock (it had recorded material by early versions of the Byrds and the Lovin Spoonful, and had just released the first LP by Paul Butterfield). Their self-titled debut album (1966) introduced their marriage of the Byrds and the Stones on a set of mostly original material and contained a small hit, their punk-ish adaptation of Bacharach/Davids My Little Red Book.

Love briefly expanded to a seven-piece for their second album, Da Capo (1967), which included their only Top 40 hit, the corkscrew-tempoed Seven & Seven Is. The first side was psychedelia at its best, with an eclectic palette encompassing furious jazz structures, gentle Spanish guitar interludes, and beautiful baroque pop with dream-like images (She Comes in Colors). It was also psychedelia at its most reckless, with the whole of side two taken up by a meandering 19-minute jam. It was still a great step forward, but by mid-1967, the band was threatening to disintegrate due to drugs and general disorganization.

The group was in such sad shape, apparently, that Elektra planned to record their third album with sessionmen backing Lee (on his compositions) or MacLean (on his compositions). Work on two tracks actually commenced in this fashion, but the shocked band pulled themselves together to play their own material again, resulting in one of the finest rock albums of all time, Forever Changes. An exceptionally strong set of material graced by captivating lyrics and glistening, unobtrusive horn and string arrangements, it was not a commercial hit in the U.S. (though it did pretty well in Britain) but remains an all-time favorite of many critics.

Just at the point where they seemed poised to assert themselves as a top band, Loves first and best lineup was broken up in early 1968, at Lees instigation. Several albums followed in the late 60s and early 70s that, though credited to Love, are in reality Lee and backup musicians — none of whom had skills on the level of Bryan MacLean or the other original Love men. Lee largely forsook folk-rock for hard rock, with unimpressive results, even when he was able to get Jimi Hendrix to play on one track. The problems ran deeper than unsympathetic accompaniment: Lees songwriting muse had largely deserted him as well, and nothing on the post-Forever Changes albums competes with the early Elektra records.

Lee released a solo album in the early 70s, and then put another Love together for one last effort in 1974, but basically Love/Lee (the two had in effect become synonymous) ground to a halt in the mid-70s. Lee has sporadically recorded and performed since then without coming up with anything resembling a unified full-length studio statement, though some scattered live and studio recordings have appeared, including a 1994 single on the tiny Distortions label.

Love　爱乐队

艺人介绍

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最新简评（共53条）

Love 爱乐队

艺人介绍

热门评论

最新简评（共53条）

Love　爱乐队