For the week of June 18-24:
-June 18 Appearance on American Bandstand TV show, synching "My Little Red Book" and "Message to Pretty" (1966).
-June 18 Concert Hullabaloo, Los Angeles CA (1968). Unconfirmed whether this gig took place or not.
-June 20 Recording session Sunset Sound, Los Angles CA. "Hummingbirds", "Seven and Seven Is" (1966).
-June 23 Appearance on Where The Action Is TV show, synching "My Little Red Book" (1966).
-June 24 Concert Valley Music Theatre, Los Angeles CA (1967).
-After the Valley Music Theatre gig LoVE would not play another live show until December 1967.
-Links to the American Bandstand appearances:
http://www.youtube.com/watch?v=ftO9ClIh ... afe=active
http://www.youtube.com/watch?v=WYNPWMku ... afe=active
-LoVE's TV resume' was essentially captured in one week's time on the two above shows. Those two and the later filmed "Your Mind And We' film are the only real live video of the band that exist.
This week in (original) LoVE history...
Moderator: The Freedom Man
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jamestkirk
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What an historic and active week for LOVE!!silentseason wrote:For the week of June 18-24:
-June 18 Appearance on American Bandstand TV show, synching "My Little Red Book" and "Message to Pretty" (1966).
-June 18 Concert Hullabaloo, Los Angeles CA (1968). Unconfirmed whether this gig took place or not.
-June 20 Recording session Sunset Sound, Los Angles CA. "Hummingbirds", "Seven and Seven Is" (1966).
-June 23 Appearance on Where The Action Is TV show, synching "My Little Red Book" (1966).
-June 24 Concert Valley Music Theatre, Los Angeles CA (1967).
-After the Valley Music Theatre gig LoVE would not play another live show until December 1967.
-Links to the American Bandstand appearances:
http://www.youtube.com/watch?v=ftO9ClIh ... afe=active
http://www.youtube.com/watch?v=WYNPWMku ... afe=active
-LoVE's TV resume' was essentially captured in one week's time on the two above shows. Those two and the later filmed "Your Mind And We' film are the only real live video of the band that exist.
thx once again, ss!!
"After silence, that which comes nearest to expressing the inexpressible is music".
-Aldous Huxley
-Aldous Huxley
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silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of June 25-July 1:
-June 25th Concert Hollywood Bowl, Los Angeles CA (1966).
-June 28 Concert Whisky A Go-Go "A Labor Of LoVE", Los Angeles CA (2006).
-The Hollywood Bowl concert was a festival dubbed "The Beach Boys Summer Spectacular" and featured the following groups: Beach Boys, Byrds, Lovin' Spoonful, Chad and Jeremy, Percy Sledge, Sunrays, Neil Diamond, The Leaves, Sir Douglas Quintet, Capt Beefheart and the New Motown Sound, in addition to LoVE. For a one day event maybe the greatest array of talent that the band ever participated in.
-The Whisky concert was a fund raiser for Arthur, who by this time was seriously ill and was facing huge medical bills. The concert featured Michael and Johnny playing, in addition to Baby Lemonade. As far as I can tell, this is the last time original members of the band played together for a paying gig.
http://love.torbenskott.dk/benefit2006/ ... hiskey.asp
-June 25th Concert Hollywood Bowl, Los Angeles CA (1966).
-June 28 Concert Whisky A Go-Go "A Labor Of LoVE", Los Angeles CA (2006).
-The Hollywood Bowl concert was a festival dubbed "The Beach Boys Summer Spectacular" and featured the following groups: Beach Boys, Byrds, Lovin' Spoonful, Chad and Jeremy, Percy Sledge, Sunrays, Neil Diamond, The Leaves, Sir Douglas Quintet, Capt Beefheart and the New Motown Sound, in addition to LoVE. For a one day event maybe the greatest array of talent that the band ever participated in.
-The Whisky concert was a fund raiser for Arthur, who by this time was seriously ill and was facing huge medical bills. The concert featured Michael and Johnny playing, in addition to Baby Lemonade. As far as I can tell, this is the last time original members of the band played together for a paying gig.
http://love.torbenskott.dk/benefit2006/ ... hiskey.asp
You set the scene
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silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of July 2-8
-July 3 Concert Fillmore West San Francisco, CA (1966).
-July 5 Concert The Cheetah Los Angeles, CA (1966).
-July 6 Concert The Cheetah Los Angeles, CA (1966).
-July 7 Concert The Cheetah Los Angeles, CA (1966).
-While it may at first sight appear to be a slow week for the band, in reality it was probably one of the most vital in its existence. There are no documented gigs or recording sessions for this week in 1967, but most likely this time was spent as part of the two month intensive practice and prep time for the recording of Forever Changes. Michael has stated that alot of the practicing for this album was done individually, but I must surmise that there had to be a certain amount of time spent as a group practicing together. More likely than not alot of time was spent at Arthur's 'Trip' house this week getting the groove together for perhaps the greatest rock record ever created, as the band honed the albums songs to their talents. It may have been a little tense and business-like as compared to previous practices, but LoVE got it together when it had to in this time frame and rose well above the occasion. This week was part of that landscape. IMHO the greatest achievement an artist makes is in the pure act of creating whatever piece of work they are attempting. No concert or recording session can top this. If I can (pun intended) set the scene to this completely hypothetical situation: it is July 7, 1967; approximately 4:00 in the afternoon; five members of the band LoVE gather together at Arthur's house; the aroma of herb is in the air as they slowly work on Red Telephone...
-July 3 Concert Fillmore West San Francisco, CA (1966).
-July 5 Concert The Cheetah Los Angeles, CA (1966).
-July 6 Concert The Cheetah Los Angeles, CA (1966).
-July 7 Concert The Cheetah Los Angeles, CA (1966).
-While it may at first sight appear to be a slow week for the band, in reality it was probably one of the most vital in its existence. There are no documented gigs or recording sessions for this week in 1967, but most likely this time was spent as part of the two month intensive practice and prep time for the recording of Forever Changes. Michael has stated that alot of the practicing for this album was done individually, but I must surmise that there had to be a certain amount of time spent as a group practicing together. More likely than not alot of time was spent at Arthur's 'Trip' house this week getting the groove together for perhaps the greatest rock record ever created, as the band honed the albums songs to their talents. It may have been a little tense and business-like as compared to previous practices, but LoVE got it together when it had to in this time frame and rose well above the occasion. This week was part of that landscape. IMHO the greatest achievement an artist makes is in the pure act of creating whatever piece of work they are attempting. No concert or recording session can top this. If I can (pun intended) set the scene to this completely hypothetical situation: it is July 7, 1967; approximately 4:00 in the afternoon; five members of the band LoVE gather together at Arthur's house; the aroma of herb is in the air as they slowly work on Red Telephone...
You set the scene
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silentseason
- Senior Member
- Posts: 468
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For the week of July 9-15
-July 15 Concert Avalon Ballroom San Francisco, CA (1966).
-This concert is disputed as to whether it took place or the band cancelled.
-Possibly this show, or another show at the Avalon, was taped. Johnny offers this memory:
"There was a local legend, named Jeffie Eisen, who was a friend of ours. Many times, while we were playing at Bido Lito's, he would bring his Roberts tape recorder and set up next to my amp. I know he made several tapes which he played for Arthur and I.
There was also a recording made in San francisco , of a Show we did for the Family dog, at the Avalon Ballroom. I remember hearing Tjay Cantrelli playing, a really great flute solo. I have no clue, what happened to them, or if they still exist.
I'm sure some old reel to reel tapes, are sitting, with no label in someone's garage, waiting to be discovered."
and this about the San Francisco scene:
"Mostly we were perplexed, at the media touting San francisco as this Mecca for Rock music. When in reality, they were far more interested in social issues. Like the Family Dog, sponsoring concerts, to provide food and clothing for the people. And the Diggers and the Stompers, opening Free Clinics. Or securing housing, for the huge number of runaway "teeny boppers", who were arriving daily. San francisco seemed to be the epicenter of a growing political movement.
Music was more often, a way to bring attention to the afore mentioned causes, a means to facilitate what was clearly a social agenda. I remember once playing at Winterland, and a bunch of people were actually picketing us. Because they didn't think they should have to pay, to see Love. They felt music belonged to the people, and should be free."
Michael on some Avalon memories:
"On May 13 and 14 of 1966 The Sons of Adam played The Avalon Ballroom in San Francisco with The Blues Project and Quicksilver. Outstanding in my memory, Al Kooper presented quite a visual image, a lean and angular figure, wearing a black cape and kind of dancing rhythmically ... hovering over his keyboard as he played, like a giant bat positioning for his next meal."
-July 15 Concert Avalon Ballroom San Francisco, CA (1966).
-This concert is disputed as to whether it took place or the band cancelled.
-Possibly this show, or another show at the Avalon, was taped. Johnny offers this memory:
"There was a local legend, named Jeffie Eisen, who was a friend of ours. Many times, while we were playing at Bido Lito's, he would bring his Roberts tape recorder and set up next to my amp. I know he made several tapes which he played for Arthur and I.
There was also a recording made in San francisco , of a Show we did for the Family dog, at the Avalon Ballroom. I remember hearing Tjay Cantrelli playing, a really great flute solo. I have no clue, what happened to them, or if they still exist.
I'm sure some old reel to reel tapes, are sitting, with no label in someone's garage, waiting to be discovered."
and this about the San Francisco scene:
"Mostly we were perplexed, at the media touting San francisco as this Mecca for Rock music. When in reality, they were far more interested in social issues. Like the Family Dog, sponsoring concerts, to provide food and clothing for the people. And the Diggers and the Stompers, opening Free Clinics. Or securing housing, for the huge number of runaway "teeny boppers", who were arriving daily. San francisco seemed to be the epicenter of a growing political movement.
Music was more often, a way to bring attention to the afore mentioned causes, a means to facilitate what was clearly a social agenda. I remember once playing at Winterland, and a bunch of people were actually picketing us. Because they didn't think they should have to pay, to see Love. They felt music belonged to the people, and should be free."
Michael on some Avalon memories:
"On May 13 and 14 of 1966 The Sons of Adam played The Avalon Ballroom in San Francisco with The Blues Project and Quicksilver. Outstanding in my memory, Al Kooper presented quite a visual image, a lean and angular figure, wearing a black cape and kind of dancing rhythmically ... hovering over his keyboard as he played, like a giant bat positioning for his next meal."
You set the scene
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jamestkirk
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silentseason
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Based on his time here at Freed's it would be very interesting to get his slant as he wasn't afraid to step on some toes in his replies to various questions.
I saw a couple of weeks ago that they pushed Pegasus Carousel back to August now. I'm hoping Michael may go the ebook route as Helter Skelter doesn't seem able to deliver.
I saw a couple of weeks ago that they pushed Pegasus Carousel back to August now. I'm hoping Michael may go the ebook route as Helter Skelter doesn't seem able to deliver.
You set the scene
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BallroomDays67
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Has it really been disputed? I thought it had been confirmed that those shows were in fact cancelled. I've never heard any claims to the contrary.silentseason wrote:-July 15 Concert Avalon Ballroom San Francisco, CA (1966).
-This concert is disputed as to whether it took place or the band cancelled.
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silentseason
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- Joined: Mon Mar 07, 2011 3:23 pm
Point taken Bally, but without this disputed gig there would be nothing to mention this week, so I put the possibility of it out there which allowed me to add the good quotes from Johnny and Michael and make this weeks entry hopefully interesting. This was one of the weeks I had to lean on the overused term "creative license". For posterity's sake to anyone visiting this thread please note it is highly unlikely the band played the Avalon at this date. Cheers.BallroomDays67 wrote:Has it really been disputed? I thought it had been confirmed that those shows were in fact cancelled. I've never heard any claims to the contrary.silentseason wrote:-July 15 Concert Avalon Ballroom San Francisco, CA (1966).
-This concert is disputed as to whether it took place or the band cancelled.
You set the scene
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silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of July 16-22
-July 16 Concert Avalon Ballroom San Francisco, CA (1966).
-July 16 Concert Santa Monica Civic Auditorium Los Angeles, CA (1967).
-July 18 Concert Terrace Ballroom Salt Lake City, UT (1968).
-July 19 Concert Kaleidoscope Los Angeles, CA (1968).
-July 20 Concert Kaleidoscope Los Angeles, CA (1968).
-July 22 Concert Roll Arena San Leandro, CA (1966).
-Both the Avalon and Santa Monica concerts probably did not happen. The band likely cancelled the two night appearance at the Avalon and were still probably too deep into developing Forever Changes to play Santa Monica.
-It appears probable that the band played both Salt Lake and the Kaleidoscope, but not entirely positive. Johnny has said that during a gig around this time he went to Arthur to collect his share of the payment for the band for a gig they just played to which Arthur stated that he had already paid him. This was eventually resolved but that might have been the unofficial end of the band. It might possibly have occured during these gigs. What is confirmed is that after these three potential shows were done, whether the band played them or not, it is the end of the original five piece LoVE. There are no more advertisements or posters for another concert by the band. The band simply stopped seeing each other and Arthur at this time decided on new band mates and went to the Brass Ring to find new players. That being established...
-...Let me say that it was a sad end for the group. Not with a bang but with a whimper did the group go out. Whatever the lineup was, the group dynamic that was established by the Lee-Echols-MacLean pairing was one that was supremely unique, and one that in 36 songs set a standard that was one of the highest for the greatest era or rock. Perhaps they were the best example of the sixties, inclusive of all of its high and lows, love and hate, innovation and destruction and whatever else made the era so dynamic. Probably fanciful thinking on my part but note how the dissolution of the original LoVE coincided with two events that some might say was the end of the dream that the decade held: after the July '68 band ending one month later the Democratic Convention in Chicago, which saw the the victory of Daley (and eventually) Nixon establishment politics, itself occured, and after the November '69 failed reunion gig saw both the capture of Charles Manson and the disaster of Altamont; the end of the band and the end of the dream. You can perhaps view LoVE as a microcosm of the decade.
-July 16 Concert Avalon Ballroom San Francisco, CA (1966).
-July 16 Concert Santa Monica Civic Auditorium Los Angeles, CA (1967).
-July 18 Concert Terrace Ballroom Salt Lake City, UT (1968).
-July 19 Concert Kaleidoscope Los Angeles, CA (1968).
-July 20 Concert Kaleidoscope Los Angeles, CA (1968).
-July 22 Concert Roll Arena San Leandro, CA (1966).
-Both the Avalon and Santa Monica concerts probably did not happen. The band likely cancelled the two night appearance at the Avalon and were still probably too deep into developing Forever Changes to play Santa Monica.
-It appears probable that the band played both Salt Lake and the Kaleidoscope, but not entirely positive. Johnny has said that during a gig around this time he went to Arthur to collect his share of the payment for the band for a gig they just played to which Arthur stated that he had already paid him. This was eventually resolved but that might have been the unofficial end of the band. It might possibly have occured during these gigs. What is confirmed is that after these three potential shows were done, whether the band played them or not, it is the end of the original five piece LoVE. There are no more advertisements or posters for another concert by the band. The band simply stopped seeing each other and Arthur at this time decided on new band mates and went to the Brass Ring to find new players. That being established...
-...Let me say that it was a sad end for the group. Not with a bang but with a whimper did the group go out. Whatever the lineup was, the group dynamic that was established by the Lee-Echols-MacLean pairing was one that was supremely unique, and one that in 36 songs set a standard that was one of the highest for the greatest era or rock. Perhaps they were the best example of the sixties, inclusive of all of its high and lows, love and hate, innovation and destruction and whatever else made the era so dynamic. Probably fanciful thinking on my part but note how the dissolution of the original LoVE coincided with two events that some might say was the end of the dream that the decade held: after the July '68 band ending one month later the Democratic Convention in Chicago, which saw the the victory of Daley (and eventually) Nixon establishment politics, itself occured, and after the November '69 failed reunion gig saw both the capture of Charles Manson and the disaster of Altamont; the end of the band and the end of the dream. You can perhaps view LoVE as a microcosm of the decade.
You set the scene
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BallroomDays67
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The Salt Lake City gig actually took place in 1970.
That's a great summation of the history, accomplishments and sad end of the original lineup. It is indeed remarkable what they accomplished in those three albums, and it's almost unimaginable that a band could go out that way after making an album like "Forever Changes."
That's a great summation of the history, accomplishments and sad end of the original lineup. It is indeed remarkable what they accomplished in those three albums, and it's almost unimaginable that a band could go out that way after making an album like "Forever Changes."
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silentseason
- Senior Member
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For the week of July 23-29:
-July 23 Concert Strand Theatre Modesto, CA (1966).
-July 29 Michael Stuart-Ware born in Texarkana, AR (1944).
-July 1966 Single "7 and 7 Is" released (1966).
-The "7 and 7 Is" single teetered towards becoming a sizeable hit record for the band during the summer of '66. It was big in selected markets but nationally only made it as high as #33. It would be the last significant chart action for the band either in singles or albums in the USA.
-July 23 Concert Strand Theatre Modesto, CA (1966).
-July 29 Michael Stuart-Ware born in Texarkana, AR (1944).
-July 1966 Single "7 and 7 Is" released (1966).
-The "7 and 7 Is" single teetered towards becoming a sizeable hit record for the band during the summer of '66. It was big in selected markets but nationally only made it as high as #33. It would be the last significant chart action for the band either in singles or albums in the USA.
You set the scene
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silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of July 30-August 6:
-Concert August 5 Fillmore West San Francisco, CA (1966).
-Concert August 6 Fillmore West San Francisco, CA (1966).
-August 6 Arthur Lee dies in Memphis, TN from long illness (2006).
-RIP Arthur. Whatever the highs and lows or your musical odyssey, you touched the lives of multitudes, which is perhaps the greatest achievement an artist can claim.
-Concert August 5 Fillmore West San Francisco, CA (1966).
-Concert August 6 Fillmore West San Francisco, CA (1966).
-August 6 Arthur Lee dies in Memphis, TN from long illness (2006).
-RIP Arthur. Whatever the highs and lows or your musical odyssey, you touched the lives of multitudes, which is perhaps the greatest achievement an artist can claim.
You set the scene
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silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of August 7-12:
-Concert August 10 Whiskey A-Go-Go Los Angeles, CA (1966).
-Concert August 11 Whiskey A-Go-Go Los Angeles, CA (1966).
-Recording session August 11 Western Recorders Los Angeles, CA (1967). Songs recorded or worked on: Live And Let Live, The Good Humor Man He Sees Everything Like This, Wonder People, A House Is Not A Motel, Andmoreagain.
-Concert August 12 Whiskey A-Go-Go Los Angeles, CA (1966).
-Recording session August 12 Western Recorders Los Angeles, CA (1967). Songs recorded or worked on: Old Man, The Red Telephone, Bummer In The Summer, You Set The Scene.
-The Whiskey gigs are notable for two reasons: 1) They were the last with Snoopy exclusively on the drums as Michael had not yet officially joined the band nor was he part of the group's scene yet. 2) During this run the Doors were still the house band for the Whiskey and opened for LoVE, but that ended as soon as Jim Morrison unleashed his newly written/improvised Oedipal section during a performance of "The End" upon an unsuspecting crowd and Whiskey management. The management did not appreciate his poetic improvisation and fired the Doors.
-A month after the disasterous initial recordings for Forever Changes and in two days the band was on fire, cutting or laying the foundation for 7 of their 9 album cuts, 9 in total if you count the left off "Wonder People" and unused electrified version of "Andmoreagain". Practice, Practice, Practice was their mantra and the results are outstanding. The focus needed to produce these masterpieces was abundant here, which in modern viewing makes their following dissapation even more frustrating. The band COULD produce big time when it was needed, but never did as intensely after these sessions.
-Concert August 10 Whiskey A-Go-Go Los Angeles, CA (1966).
-Concert August 11 Whiskey A-Go-Go Los Angeles, CA (1966).
-Recording session August 11 Western Recorders Los Angeles, CA (1967). Songs recorded or worked on: Live And Let Live, The Good Humor Man He Sees Everything Like This, Wonder People, A House Is Not A Motel, Andmoreagain.
-Concert August 12 Whiskey A-Go-Go Los Angeles, CA (1966).
-Recording session August 12 Western Recorders Los Angeles, CA (1967). Songs recorded or worked on: Old Man, The Red Telephone, Bummer In The Summer, You Set The Scene.
-The Whiskey gigs are notable for two reasons: 1) They were the last with Snoopy exclusively on the drums as Michael had not yet officially joined the band nor was he part of the group's scene yet. 2) During this run the Doors were still the house band for the Whiskey and opened for LoVE, but that ended as soon as Jim Morrison unleashed his newly written/improvised Oedipal section during a performance of "The End" upon an unsuspecting crowd and Whiskey management. The management did not appreciate his poetic improvisation and fired the Doors.
-A month after the disasterous initial recordings for Forever Changes and in two days the band was on fire, cutting or laying the foundation for 7 of their 9 album cuts, 9 in total if you count the left off "Wonder People" and unused electrified version of "Andmoreagain". Practice, Practice, Practice was their mantra and the results are outstanding. The focus needed to produce these masterpieces was abundant here, which in modern viewing makes their following dissapation even more frustrating. The band COULD produce big time when it was needed, but never did as intensely after these sessions.
You set the scene
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silentseason
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- Joined: Mon Mar 07, 2011 3:23 pm
For the week of August 13-19:
-August 13 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 14 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 15 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 15 Recording session, overdubs for "Forever Changes", Sunset Sound Los Angeles, CA (1967).
-August 16 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 17 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 18 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 18 Concert Marigold Ballroom Fresno, CA (1966).
-August 19 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 19 Concert Marigold Ballrom Fresno, CA (1966).
-Conflict over the Marigold and Whiskey shows as the band couldn't have been at the two venues both on the same day. Perhaps their run at the Whiskey ended prior to August 18 and the did both of the Fresno shows?
-August 13 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 14 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 15 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 15 Recording session, overdubs for "Forever Changes", Sunset Sound Los Angeles, CA (1967).
-August 16 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 17 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 18 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 18 Concert Marigold Ballroom Fresno, CA (1966).
-August 19 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 19 Concert Marigold Ballrom Fresno, CA (1966).
-Conflict over the Marigold and Whiskey shows as the band couldn't have been at the two venues both on the same day. Perhaps their run at the Whiskey ended prior to August 18 and the did both of the Fresno shows?
You set the scene
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silentseason
- Senior Member
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For the week of August 20-26:
-August 20 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 20 Concert Marigold Ballroom Fresno, CA (1966).
-August 20 Recording session, overdubs for "Forever Changes" Sunset Sound Los Angeles, CA (1967).
-August 21 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-Again a conflict exists on the 20th as the band could not have played both Fresno and the Whiskey on the same day.
-August 20 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-August 20 Concert Marigold Ballroom Fresno, CA (1966).
-August 20 Recording session, overdubs for "Forever Changes" Sunset Sound Los Angeles, CA (1967).
-August 21 Concert Whiskey A-Go-Go Los Angeles, CA (1966).
-Again a conflict exists on the 20th as the band could not have played both Fresno and the Whiskey on the same day.
You set the scene
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silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of August 27-September 2:
-August 27 Concert Longshoreman's Hall, San Francisco CA (1966).
-This would be the last gig for Snoopy as drummer for the band. Michael had an introduction to the band as he travelled with them to the previous gig at Fresno.
"...Snoop played that gig in Fresno, however the band kindly flew me up with them so I could hang out and get a feel for the membership.
I remember three things about that gig... first, not only did Snoopy play barefoot, but he actually walked over to the venue barefoot from where the limo dropped us off and it was a gravelly, rocky walk. I remember thinking, "Dude must have some hard core calluses on the bottoms of those feets."
The second thing I remember about that gig, was during the flight up, Arthur (after activating the little fan above his seat) nonchalantly pulled his hash pipe out of his coat pocket, fired it up and, with only the slightest hint of discretion, commenced to smoke and pass the pipe across the aisle to members to the band (including me of course) in full view of the other passengers and crew. To my amazement, nobody said a word.
,... and the third (and most important) thing I remember is that when we landed back in L.A., the flight attendant slipped me a piece of paper with her number on it as I stepped toward the rear exit. She was fine, too.
The first thing I did as a paid member (and actual drummer) of the group was to start rehearsals for Da Capo during the last week in August up at Arthur's pad on Brier in the canyon."
-August 27 Concert Longshoreman's Hall, San Francisco CA (1966).
-This would be the last gig for Snoopy as drummer for the band. Michael had an introduction to the band as he travelled with them to the previous gig at Fresno.
"...Snoop played that gig in Fresno, however the band kindly flew me up with them so I could hang out and get a feel for the membership.
I remember three things about that gig... first, not only did Snoopy play barefoot, but he actually walked over to the venue barefoot from where the limo dropped us off and it was a gravelly, rocky walk. I remember thinking, "Dude must have some hard core calluses on the bottoms of those feets."
The second thing I remember about that gig, was during the flight up, Arthur (after activating the little fan above his seat) nonchalantly pulled his hash pipe out of his coat pocket, fired it up and, with only the slightest hint of discretion, commenced to smoke and pass the pipe across the aisle to members to the band (including me of course) in full view of the other passengers and crew. To my amazement, nobody said a word.
,... and the third (and most important) thing I remember is that when we landed back in L.A., the flight attendant slipped me a piece of paper with her number on it as I stepped toward the rear exit. She was fine, too.
The first thing I did as a paid member (and actual drummer) of the group was to start rehearsals for Da Capo during the last week in August up at Arthur's pad on Brier in the canyon."
You set the scene
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silentseason
- Senior Member
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- Joined: Mon Mar 07, 2011 3:23 pm
-
silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of September 10-16:
-September 10 Recording session; "Alone Again Or", "A House Is Not A Motel" and "Maybe The People Would Be The Times Or Between Clark And Hilldale" for "Forever Changes" Sunset Sound, Los Angeles CA (1967).
-September 14 Recording session; overdubs for "Forever Changes", Leon Russell's home (1967).
-September 15 Recording session; overdubs for "Forever Changes", Leon Russell's home (1967).
-September 10 Recording session; "Alone Again Or", "A House Is Not A Motel" and "Maybe The People Would Be The Times Or Between Clark And Hilldale" for "Forever Changes" Sunset Sound, Los Angeles CA (1967).
-September 14 Recording session; overdubs for "Forever Changes", Leon Russell's home (1967).
-September 15 Recording session; overdubs for "Forever Changes", Leon Russell's home (1967).
You set the scene
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silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of September 17-23:
-September 18 Recording session, Sunset Sound. Orchestral background recording for "Forever Changes", Los Angeles CA (1967).
-September 21 Recording session, Sunset Sound. String overdubs for "Forever Changes", Los Angeles CA (1967).
-These were the "sweetening" sessions to wrap up the near four month odyssey that was the recording of "Forever Changes". Arthur's grand idea was given full fruition this week with these sessions, aided by David Angel and the assembled musicians. This was the artistic peak of Arthur's career IMO.
-September 18 Recording session, Sunset Sound. Orchestral background recording for "Forever Changes", Los Angeles CA (1967).
-September 21 Recording session, Sunset Sound. String overdubs for "Forever Changes", Los Angeles CA (1967).
-These were the "sweetening" sessions to wrap up the near four month odyssey that was the recording of "Forever Changes". Arthur's grand idea was given full fruition this week with these sessions, aided by David Angel and the assembled musicians. This was the artistic peak of Arthur's career IMO.
You set the scene
-
jamestkirk
- Senior Member
- Posts: 5816
- Joined: Tue Mar 20, 2007 9:11 pm
- Location: The Music Of My Mind
The icing on arguably the greatest rock album of all time!silentseason wrote:For the week of September 17-23:
-September 18 Recording session, Sunset Sound. Orchestral background recording for "Forever Changes", Los Angeles CA (1967).
-September 21 Recording session, Sunset Sound. String overdubs for "Forever Changes", Los Angeles CA (1967).
-These were the "sweetening" sessions to wrap up the near four month odyssey that was the recording of "Forever Changes". Arthur's grand idea was given full fruition this week with these sessions, aided by David Angel and the assembled musicians. This was the artistic peak of Arthur's career IMO.
You Set The Scene
http://www.youtube.com/watch?v=KdELzBV9pyo
oh yeah...
"After silence, that which comes nearest to expressing the inexpressible is music".
-Aldous Huxley
-Aldous Huxley
-
silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the Week of September 24-30:
-September 25 Bryan Maclean born in Los Angeles (1946).
-September 25 Recording session, Sunset Sound. String overdubs for "Forever Changes", Los Angeles CA (1967).
-September 26 Former drummer Don Conka dies (2004).
-September 27 Recording session, RCA Studio. "Da Capo" sessions begin with "Orange Skies" being recorded. Los Angeles CA (1966).
-September 28 Recording session, RCA Studio. "Que Vida" recorded, Los Angeles CA (1966).
-September 29 Recording session, RCA Studio. "She Comes In Colors" recorded, Los Angeles CA (1966).
-September 29 Concert Santa Monica Civic Auditorium, Los Angeles CA(1967).
-September 30 Recording session, RCA Studio. "The Castle" recorded, Los Angeles CA (1966).
-The Santa Monica concert was cancelled as the band went almost the entire second half of 1967 without playing a live gig.
-On the upside, I am unofficially declaring this time frame in 1966 as "The week of LoVE" as this is perhaps the peak of the original unit. They had just expanded the lineup to a seven piece, were in the process of making a quantum leap forward with the jazz/rock fusion of "Da Capo", were becoming an even better live unit, were at the cutting edge of progressive music, and everyone was getting along. A moment frozen in time is one to cherish however brief it lasted.
-September 25 Bryan Maclean born in Los Angeles (1946).
-September 25 Recording session, Sunset Sound. String overdubs for "Forever Changes", Los Angeles CA (1967).
-September 26 Former drummer Don Conka dies (2004).
-September 27 Recording session, RCA Studio. "Da Capo" sessions begin with "Orange Skies" being recorded. Los Angeles CA (1966).
-September 28 Recording session, RCA Studio. "Que Vida" recorded, Los Angeles CA (1966).
-September 29 Recording session, RCA Studio. "She Comes In Colors" recorded, Los Angeles CA (1966).
-September 29 Concert Santa Monica Civic Auditorium, Los Angeles CA(1967).
-September 30 Recording session, RCA Studio. "The Castle" recorded, Los Angeles CA (1966).
-The Santa Monica concert was cancelled as the band went almost the entire second half of 1967 without playing a live gig.
-On the upside, I am unofficially declaring this time frame in 1966 as "The week of LoVE" as this is perhaps the peak of the original unit. They had just expanded the lineup to a seven piece, were in the process of making a quantum leap forward with the jazz/rock fusion of "Da Capo", were becoming an even better live unit, were at the cutting edge of progressive music, and everyone was getting along. A moment frozen in time is one to cherish however brief it lasted.
You set the scene
-
silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of Oct 1-7:
-October 2 Recording session, RCA Studio. "Stephanie Knows Who" recorded, Los Angeles CA (1966).
-October 3 Recording session, Sunset Sound. "Revelation" recorded, Los Angleles CA (1966).
-This week saw the completion of the recording of the "Da Capo" album. Again it was another fast turnaround for the band (this time newly revamped), with only 6 days devoted to recording the album (not counting the "7 and 7 Is" sessions recorded previously in June '66). Five of the songs were recorded at RCA Studios with David Hassinger at the controls and the results from these sessions were outstanding. Unfortunately the band relocated to Sunset Sound and tried to capture the live fury of "John Lee Hooker" onto an album and the results were ultimately not what LoVE wanted.
The album was a perfect example of where the band was specifically then and a microcosm of their legacy in general. I believe that it is a quantum leap forward from their debut album, their greatest and most daring leap ever. It had all the elements of the experimental sounds that were revolutionizing music at that time and had elements of turmoil as well. The 7 piece ensemble blended together quite well and gave the songs a nice blend of jazz/rock fusion (or free jazz) as well as maintaining a listenability for pop fans.
Right out of the box it is clear that LoVE had grown immensely. 'Stephanie Knows Who' showcases the talents of the whole band immediately, with Johnny and Tjay having brief but noteworth solos. Michael handles the offbeat tempo and Snoopy finds his niche on harpsichord. 'Orange Skies' (my favorite song on the album) takes a Bryan-penned song and turns it into a soft-psych masterpiece, Tjay's flute playing absolutely superb for this song. 'Que Vida' is some of Arthur's best songwriting. '7 and 7 Is'-I've said it before, and I'll say it again: if this song does'nt get you excited you may not have a pulse. 'The Castle', following on the heals of '7 and 7' , brings things back to earth, featuring Arthur's ability to stretch his vocals all over the spectrum, and shows off Kenny's bass talents. 'She Comes In Colors' might be the most commercial of the offerings on this album and is a great Tjay/Snoopy song.
Some regard it as a "half album" due to the second side being one song only, and not a good one. I still think that despite its faults "Revelation" is a good song, and well worth the effort to try and capture the greatest live achievement of the band. You can't fault them for trying to get this on vinyl, although it was perhaps a bit naive on their part to think that it would translate across. Also they could have maybe been more involved with Paul Rothchild's decisions on how to present the song.
In summary "Da Capo" might in some way's be considered the band's greatest artistic achievement, musically speaking. It will always have a special meaning for me as it was the album that turned me onto the band's music.
Michael with some memories and opinions on Da Capo:
"1) Several thoughts stand out. One thing is, it seemed at the time, as though Paul Rothchild was a "hands off" kind of a producer... almost a producer in name only. I don't remember him coming out from the booth to make a suggestion or making any comments via the mic from the booth to any members of the group, at all, not one time.
But, as on Forever Changes, Arthur had very little instrumental responsibility, so, during the laying down of the instrumental tracks, he spent most of the time in the booth, behind the glass with Paul and Dave Hassinger (and on "Revelation," Bruce Botnick), therefore it could be that Paul was making some important suggestions back there where we couldn't hear.
Every cut went off fairly well... more or less like clockwork, to my recollection, without astronomical numbers of takes on any one song.
2) I only think that "Revelation" was the most difficult because it was so long and convoluted and it was the one that we were trying so hard (unsuccessfully, in my opinion) to make sound like it did in the clubs. We just weren't able to capture that gutteral and powerful groove that was so natural in the clubs; and the mix came out too tinney and crisp. Not enough bass and drums.
3) I believe those back cover shots were taken in the office upstairs at The Whisky by Guy Webster. He was standing up on a 6 foot ladder shooting down and placing us in different poses. Later, when we saw the final product, Snoopy said he thought his picture made him look like a penguin... and Bryan said he thought he looked like a little kid playing in a sandbox. Bryan says, "I look like a real badass there, don't I?"
and
"I suppose the back cover photos could have been better, but to break it down into the three categories you listed, artwork, sound, and promotion, it's my opinion the photos probably had the least impact on the level of success the album achieved. Therefore...
1) Photos? I don't look like a penguin or like I'm playing in a sandbox and I'm posed in a daddy-cool type pose, so I think Guy did a hell of a job on the back cover photos. Let's move on to,
2) The quality of the sound was limited for several reasons. Not that great... compared to The Beatles? (Capitol Records)... The Byrds? (Columbia.)... well, their sound was a little more polished than Love's sound and perhaps a little easier to record properly, but side one of Da Capo was recorded at RCA's studio "B"... the exact same studio the Byrds used, and same studio and engineer (Dave Hassinger) The Rolling Stones used, so... take from that what you will. It's not like Elektra said, "You guys have to use Sunset Sound and Bruce Botnick because we can't afford an expensive studio like RCA. Which leads to,
3) The promotion (or lack thereof) of Da Capo...It's my understanding that the big selling point that Jac Holzman used to lure Arthur away the big labels like Columbia and Capitol in the first place, is that he (Arthur) would have more control with Elektra, so Arthur should have known there would be a little bit of a trade off there, but he went with the "control factor" anyway. Did he really think a fledgling label like Elektra would have the same promotional capabilities as the big labels?"
Johnny with his thoughts:
"Tjay, John Fleck, and I, had played at a club called the Sea Witch, (before we hooked-up with Arthur) which was sort of an "Avant Garde" free form venue. We were all pretty much closet jazz musicians, from the beginning.
As far as the inclusion of "Snoopy." Arthur and I were trying to find a way of keeping him in the group, after bringing Michael on-board. We were aware that "Snoopy" was a classically trained pianist, so we decided to push the envelope a bit, and see where it led. After adding Tjay to the mix, we pushed it a little more. The group was intrigued by the prospect of "fusing" Jazz, Classical, and R&B with Rock&Roll. Revelation was to be [the] culmination of that concept. And was meant to be recorded "live" in studio.
We had intended to include some of the dancers from BIDO LITO'S, in order to recreate a club atmosphere, but the musicians union would not allow us to do that. The problems started with Paul Rothschild, who was busy with the Doors, so he couldn't make the session. Being that he had never heard "Revelation," before attempting to mix the hour long track, down to an eighteen minute cut. He had absolutely no clue as to what we were trying to accomplish. So he wound up splicing the song in the wrong places, leaving the best parts on the cutting room floor. The solo's that needed to build in a natural order, were chopped up, with no rhyme or reason.
If we had worked out a shorter version in advance, we could have forestalled many, if not all of the problems arising from such a long track. Putting all the drama aside, I still think it's a fine song, and a cutting edge piece of music. It's just too bad we were unable to get the "real deal" on tape."
and
"With the exception of Revelation, none of the songs were played live before we recorded them. Things were evolving so fast, that most of them were not completely written, or finalized until we were in the studio. Rothschild was not too happy with what [seemed] to be a group that was unprepared. The reality was, that's just how we worked, there were always last minute changes, depending on how things sounded, when played back over the monitors. Both he, and Jac were really bothered by the abrupt change in musical direction. They had expected to release an album more like the first one."
-October 2 Recording session, RCA Studio. "Stephanie Knows Who" recorded, Los Angeles CA (1966).
-October 3 Recording session, Sunset Sound. "Revelation" recorded, Los Angleles CA (1966).
-This week saw the completion of the recording of the "Da Capo" album. Again it was another fast turnaround for the band (this time newly revamped), with only 6 days devoted to recording the album (not counting the "7 and 7 Is" sessions recorded previously in June '66). Five of the songs were recorded at RCA Studios with David Hassinger at the controls and the results from these sessions were outstanding. Unfortunately the band relocated to Sunset Sound and tried to capture the live fury of "John Lee Hooker" onto an album and the results were ultimately not what LoVE wanted.
The album was a perfect example of where the band was specifically then and a microcosm of their legacy in general. I believe that it is a quantum leap forward from their debut album, their greatest and most daring leap ever. It had all the elements of the experimental sounds that were revolutionizing music at that time and had elements of turmoil as well. The 7 piece ensemble blended together quite well and gave the songs a nice blend of jazz/rock fusion (or free jazz) as well as maintaining a listenability for pop fans.
Right out of the box it is clear that LoVE had grown immensely. 'Stephanie Knows Who' showcases the talents of the whole band immediately, with Johnny and Tjay having brief but noteworth solos. Michael handles the offbeat tempo and Snoopy finds his niche on harpsichord. 'Orange Skies' (my favorite song on the album) takes a Bryan-penned song and turns it into a soft-psych masterpiece, Tjay's flute playing absolutely superb for this song. 'Que Vida' is some of Arthur's best songwriting. '7 and 7 Is'-I've said it before, and I'll say it again: if this song does'nt get you excited you may not have a pulse. 'The Castle', following on the heals of '7 and 7' , brings things back to earth, featuring Arthur's ability to stretch his vocals all over the spectrum, and shows off Kenny's bass talents. 'She Comes In Colors' might be the most commercial of the offerings on this album and is a great Tjay/Snoopy song.
Some regard it as a "half album" due to the second side being one song only, and not a good one. I still think that despite its faults "Revelation" is a good song, and well worth the effort to try and capture the greatest live achievement of the band. You can't fault them for trying to get this on vinyl, although it was perhaps a bit naive on their part to think that it would translate across. Also they could have maybe been more involved with Paul Rothchild's decisions on how to present the song.
In summary "Da Capo" might in some way's be considered the band's greatest artistic achievement, musically speaking. It will always have a special meaning for me as it was the album that turned me onto the band's music.
Michael with some memories and opinions on Da Capo:
"1) Several thoughts stand out. One thing is, it seemed at the time, as though Paul Rothchild was a "hands off" kind of a producer... almost a producer in name only. I don't remember him coming out from the booth to make a suggestion or making any comments via the mic from the booth to any members of the group, at all, not one time.
But, as on Forever Changes, Arthur had very little instrumental responsibility, so, during the laying down of the instrumental tracks, he spent most of the time in the booth, behind the glass with Paul and Dave Hassinger (and on "Revelation," Bruce Botnick), therefore it could be that Paul was making some important suggestions back there where we couldn't hear.
Every cut went off fairly well... more or less like clockwork, to my recollection, without astronomical numbers of takes on any one song.
2) I only think that "Revelation" was the most difficult because it was so long and convoluted and it was the one that we were trying so hard (unsuccessfully, in my opinion) to make sound like it did in the clubs. We just weren't able to capture that gutteral and powerful groove that was so natural in the clubs; and the mix came out too tinney and crisp. Not enough bass and drums.
3) I believe those back cover shots were taken in the office upstairs at The Whisky by Guy Webster. He was standing up on a 6 foot ladder shooting down and placing us in different poses. Later, when we saw the final product, Snoopy said he thought his picture made him look like a penguin... and Bryan said he thought he looked like a little kid playing in a sandbox. Bryan says, "I look like a real badass there, don't I?"
and
"I suppose the back cover photos could have been better, but to break it down into the three categories you listed, artwork, sound, and promotion, it's my opinion the photos probably had the least impact on the level of success the album achieved. Therefore...
1) Photos? I don't look like a penguin or like I'm playing in a sandbox and I'm posed in a daddy-cool type pose, so I think Guy did a hell of a job on the back cover photos. Let's move on to,
2) The quality of the sound was limited for several reasons. Not that great... compared to The Beatles? (Capitol Records)... The Byrds? (Columbia.)... well, their sound was a little more polished than Love's sound and perhaps a little easier to record properly, but side one of Da Capo was recorded at RCA's studio "B"... the exact same studio the Byrds used, and same studio and engineer (Dave Hassinger) The Rolling Stones used, so... take from that what you will. It's not like Elektra said, "You guys have to use Sunset Sound and Bruce Botnick because we can't afford an expensive studio like RCA. Which leads to,
3) The promotion (or lack thereof) of Da Capo...It's my understanding that the big selling point that Jac Holzman used to lure Arthur away the big labels like Columbia and Capitol in the first place, is that he (Arthur) would have more control with Elektra, so Arthur should have known there would be a little bit of a trade off there, but he went with the "control factor" anyway. Did he really think a fledgling label like Elektra would have the same promotional capabilities as the big labels?"
Johnny with his thoughts:
"Tjay, John Fleck, and I, had played at a club called the Sea Witch, (before we hooked-up with Arthur) which was sort of an "Avant Garde" free form venue. We were all pretty much closet jazz musicians, from the beginning.
As far as the inclusion of "Snoopy." Arthur and I were trying to find a way of keeping him in the group, after bringing Michael on-board. We were aware that "Snoopy" was a classically trained pianist, so we decided to push the envelope a bit, and see where it led. After adding Tjay to the mix, we pushed it a little more. The group was intrigued by the prospect of "fusing" Jazz, Classical, and R&B with Rock&Roll. Revelation was to be [the] culmination of that concept. And was meant to be recorded "live" in studio.
We had intended to include some of the dancers from BIDO LITO'S, in order to recreate a club atmosphere, but the musicians union would not allow us to do that. The problems started with Paul Rothschild, who was busy with the Doors, so he couldn't make the session. Being that he had never heard "Revelation," before attempting to mix the hour long track, down to an eighteen minute cut. He had absolutely no clue as to what we were trying to accomplish. So he wound up splicing the song in the wrong places, leaving the best parts on the cutting room floor. The solo's that needed to build in a natural order, were chopped up, with no rhyme or reason.
If we had worked out a shorter version in advance, we could have forestalled many, if not all of the problems arising from such a long track. Putting all the drama aside, I still think it's a fine song, and a cutting edge piece of music. It's just too bad we were unable to get the "real deal" on tape."
and
"With the exception of Revelation, none of the songs were played live before we recorded them. Things were evolving so fast, that most of them were not completely written, or finalized until we were in the studio. Rothschild was not too happy with what [seemed] to be a group that was unprepared. The reality was, that's just how we worked, there were always last minute changes, depending on how things sounded, when played back over the monitors. Both he, and Jac were really bothered by the abrupt change in musical direction. They had expected to release an album more like the first one."
You set the scene
-
silentseason
- Senior Member
- Posts: 468
- Joined: Mon Mar 07, 2011 3:23 pm
For the week of October 8-16:
No official occurances so will include events that happened in this month but without a specific date:
-Having outgrown the Brave New World, LoVE begins a residency at Bido Litos (1965).
-John Fleckenstein leaves the band and is replaced by Kenny Forssi (1965).
To wrap things up Michael will get the final word. This is in response to a question as to whether all the turmoil that the band went through in the latter stages of it's existance made joining up worth it. It's a nice response and one I think sums up the band in a good light:
"Am I sorry I joined Love? Not hardly. I just wish I would have accepted the first time around, because then I would have had the opportunity to play drums on one of the great compositions of all time, "7&7 Is."
Not only that, but I want to say right here and now that I absolutely and fully appreciate having had the honor of recording music written by two of the great minds ever to write in the popular music genre, Arthur Lee and Bryan Maclean. I shudder to think what I almost missed."
No official occurances so will include events that happened in this month but without a specific date:
-Having outgrown the Brave New World, LoVE begins a residency at Bido Litos (1965).
-John Fleckenstein leaves the band and is replaced by Kenny Forssi (1965).
To wrap things up Michael will get the final word. This is in response to a question as to whether all the turmoil that the band went through in the latter stages of it's existance made joining up worth it. It's a nice response and one I think sums up the band in a good light:
"Am I sorry I joined Love? Not hardly. I just wish I would have accepted the first time around, because then I would have had the opportunity to play drums on one of the great compositions of all time, "7&7 Is."
Not only that, but I want to say right here and now that I absolutely and fully appreciate having had the honor of recording music written by two of the great minds ever to write in the popular music genre, Arthur Lee and Bryan Maclean. I shudder to think what I almost missed."
You set the scene