A House Is Not A Motel - Love


Rola: A House Is Not A Motel
Traducción: Una casa no es un motel
Compositor: Arthur Lee
Intérprete: Love
Incluída en el L.P. Forever Changes
Orden al bat: 084


Duración: 03:32
Productor: Bruce Botnick, Arthur Lee
Año: 1967
Formato: 7"
A la venta: 01/11/1967
Disquera: Elektra


Arthur Lee: guitarra y voz principal
Johnny Echols: guitarra principal
Bryan MacLean: guitarra rítmica y voz
Ken Forssi: bajo
Michael Stuart: batería, percusiones y voz


A House Is Not A Motel
Una casa no es un motel
At my house I have got no shackles
You can come and see if you want to
In the walls youll see the mantles
Where the light shines dim all around you
And the streets are paved with gold and if
Someone asks you, you can call my name

You're just a thought that someone
Somewhere, somehow feels you should be here
And it's so for real to see you
To smell, to touch, to know where you are here
And the streets are paved with gold and if
Someone asks you, you can call my name
You can call my name
I hear you calling my name!

By the time that I'm through singing
The bells from the schools of walls will be ringing
More confusions, blood transfusions
The news today will be the movies for tomorrow
And the waters turned to blood, and if
You don't think so
Go turn on your tub
And it's mixed with mud
Youll see it turn to gray
And you can call my name
I hear you calling my name


La revista Rolling Stone clasifica a Forever Changes como el número 40 entre los 500 discos más importantes de todos los tiempos

1. "Alone Again Or"
2. "A House Is Not a Motel"
3. "Andmoreagain"
4. "The Daily Planet"
5. "Old Man"
6. "The Red Telephone"

1. "Maybe the People Would Be the Times or Between Clark and Hilldale"
2. "Live and Let Live"
3. "The Good Humor Man He Sees Everything Like This"
4. "Bummer in the Summer"
5. "You Set the Scene"

Forever Changes is the third album by American rock band Love, released by Elektra Records in November 1967. In 2003, Rolling Stone magazine ranked Forever Changes 40th in its list of the 500 greatest albums of all time. It has also been chosen one of the all-time greatest rock albums by several other prominent publications. In addition, the album was inducted into the Grammy Hall of Fame in 2008.

Dropping keyboardist Alban "Snoopy" Pfisterer and flautist/saxophonist Tjay Cantrelli, the remaining five-piece performed on nine of the album's eleven tracks. The album was the first to be produced by Arthur Lee, with assistance from Bruce Botnick.

Originally, the album was to be produced by Botnick and Neil Young, but Young bowed out due to his commitments to Buffalo Springfield. However, according to the liner notes of the 1995 compilation Love Story, Young did stick with the album project long enough to arrange the track "The Daily Planet".

The title of the album came from a story that Lee had heard about a friend-of-a-friend who had dumped his girlfriend. She exclaimed, "You said you would love me forever!", and he replied, "Well, forever changes." Lee also noted that since the name of the band was Love, the full title was "Love Forever Changes".

The sessions began in June 1967, with the group (except for Lee and Maclean) replaced by well-known Los Angeles session musicians Billy Strange (guitar), Don Randi (piano), Hal Blaine (drums) and most likely Carol Kaye (bass). This studio line-up was put in place due to the regular line-up's alleged inability to function. The two tracks recorded during these sessions, "Andmoreagain" and "The Daily Planet", were later given sparing overdubs by the actual members of Love, who felt the tracks otherwise sufficed.

Botnick recalls that the use of session musicians "sparked" the band, and they "realized they had blown it, got their act together and recorded the rest of the album". After much rehearsal, the group resumed work in August and continued through September, quickly laying down the remaining nine tracks, with a total estimated cost at $2,257.

Lee spent three weeks with David Angel, the arranger of the strings and horns, playing and singing the orchestral parts to him. Contrary to what has been reported in other places, Lee envisioned the horns and strings from the beginning, and they were not just added at the end. However, Lee did not play any instruments on the album.

"When I did that album," commented Arthur Lee, "I thought I was going to die at that particular time, so those were my last words." This is borne out by perhaps the most famous lines from the album, on the song "The Red Telephone":

"Sitting on a hillside
Watching all the people die
I'll feel much better on the other side."

Musically, the album is very ambitious. Having extended itself on the lengthy jam "Revelation" from Da Capo, Love here composes a more focused mini-suite, the album-ending "You Set the Scene".

A September 18 recording session finished the album, adding the horns and strings, as well as some additional piano from Randi, who played all the keyboard parts on the album as the band now had no keyboard player. Lee attended these sessions, and told John Einarson: "I walked into the studio and took a seat in one of the chairs. I must have been there at least 45 minutes when one of the classical musicians said, "If this guy Arthur Lee doesn't show up soon, I'm leaving." I said, "I'm Arthur." Most of them, if not all of them couldn't believe their eyes. This black hippie guy is Arthur Lee?"

David Angel said: "String players would talk to me during the break and say, "You're doing something very unusual here." They sensed that this was groundbreaking, and they did sessions every day."

The album was released in November with cover art by Bob Pepper and only sold moderately, rising to #154 on the Billboard charts (without the benefit of a hit single). It did however reach the Top 30 in Britain. In general, critics loved the album. Pete Johnson, writing in the Los Angeles Times on February 25, 1968, said: [The LP] "can survive endless listening with no diminishing either of power or of freshness." Gene Youngblood, in the LA Free Press, May 10, 1968, wrote: "Soft, subtle. Forever changing in tonal color, rhythm patterns, vocal nuances, lyric substance. Exquisite nuances."

Forever Changes was included in its entirety on the 2-CD retrospective Love compilation Love Story 1966-1972, released by Rhino Records in 1995. The album was re-released in an expanded single-CD version by Rhino in 2001, featuring alternate mixes, outtakes and the group's 1968 single, "Your Mind and We Belong Together"/"Laughing Stock", the last tracks featuring Johnny Echols, Ken Forssi, Michael Stuart and Bryan MacLean. As for Arthur Lee, he would reform the group in late 1968 with all-new members and carry on the Love name for a few more years.

A double-CD "Collector's Edition" of the album was issued by Rhino Records on April 22, 2008. The first disc consists of the original 1967 album, while the second disc is an alternate mix of it plus the 2001 release bonus songs.


Love: Estados Unidos

Love was an American rock group of the late 1960s and early 1970s. They were led by singer, songwriter and guitarist Arthur Lee and the group's second songwriter, guitarist Bryan MacLean. One of the first racially diverse American pop bands, their music reflected different influences, combining elements of rock and roll, garage rock, folk and psychedelia.

Lee, who had lived in Los Angeles since the age of five, had been recording since 1963 with his bands, the LAG's and Lee's American Four. He had also produced a single, "My Diary", for Rosa Lee Brooks in 1964 which featured Jimi Hendrix on guitar. A garage outfit, The Sons Of Adam, which included future Love drummer Michael Stuart, also recorded a Lee composition, "Feathered Fish". However, after viewing a Byrds performance, Lee determined to join the newly minted folk-rock sound of the Byrds to his primarily rhythm and blues style. Soon after, he formed The Grass Roots with guitarist Johnny Echols (another Memphis native), bassist Johnny Fleckenstein and drummer Don Conka. Byrds roadie Bryan MacLean joined the band just before they changed their name to Love, spurred by the release of a single by another group called The Grass Roots.

Love started playing the Los Angeles clubs in April 1965 and became a popular act. At this time, they were playing extended numbers such as "Revelation" (originally titled "John Lee Hooker") and getting the attention of such contemporaries as the Rolling Stones and the Yardbirds. The band lived communally in a house once owned by horror actor Bela Lugosi, and their first two albums included photographs shot in the garden of that house.

Signed to the Elektra Records label, the band scored a minor hit single in 1966 with their version of Burt Bacharach's "My Little Red Book", the song's title likely being a tongue-in-cheek reference to Mao Zedong's Little Red Book, which was first published by the Communist Party of China in April 1964. In the meantime, Lee had dismissed Conka and Fleckenstein, replacing them with Alban "Snoopy" Pfisterer and Ken Forssi (from a post-"Wipe Out" lineup of The Surfaris). Their debut album, Love, was released in July 1966, and included "Signed D.C" and MacLean's "Softly To Me." The album sold moderately well and reached #57 on the Billboard 200 chart.

In August, 1966, the single "7 and 7 Is" became their highest-charting at #33 in the Billboard Hot 100. Two more members were added around this time, Tjay Cantrelli (aka John Barberis) on woodwinds and Michael Stuart on drums. Pfisterer, never a confident drummer, switched to harpsichord.

Their musical reputation largely rests on two albums issued in 1967, Da Capo and Forever Changes. Da Capo, released in February of that year, included rockers like "Stephanie Knows Who" and "7 and 7 Is", and melodic songs such as "¡Qué Vida!" and "She Comes in Colors." Cantrelli and Pfisterer soon quit the band, leaving it as a five-piece once again.

Forever Changes, released in December 1967, is a suite of songs using acoustic guitars, strings and horns that was recorded while the band was falling apart as the result of various abuses. Producer Bruce Botnick originally planned to record the entire album with session musicians backing Lee and MacLean but, after two tracks had been recorded in this way, the rest of the band were stung into producing the discipline required to complete the rest of the album in only 64 hours. Writer Richard Meltzer, in his The Aesthetics of Rock, commented on Love's "orchestral moves," "post-doper word contraction cuteness" and Lee's vocal style that serves as a "reaffirmation of Johnny Mathis." Forever Changes included one modest hit single, the MacLean-written "Alone Again Or", while "You Set the Scene" went on to receive airplay from some progressive rock radio stations. By this stage, Love were far more popular in the UK, where the album reached #24, than in their home country, where it could only reach #154

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