“Forever Changes” (1967), by Love, a classic gem of the Sixties Psychedelic scene in L.A.

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Cheers, fellow earthlings! Here’s one of the greatest musical journeys of the Sixties and certainy one of my favorite albums from the “Hippie” era, Love’s Forever Changes. Read an excellent review by Mark Deming and then pump up the volume and press play to trip through this entrancing soundscapes!…

“Love’s Forever Changes made only a minor dent on the charts when it was first released in 1967, but years later it became recognized as one of the finest and most haunting albums to come out of the Summer of Love, which doubtless has as much to do with the disc’s themes and tone as the music, beautiful as it is. Sharp electric guitars dominated most of Love’s first two albums, and they make occasional appearances here on tunes like “A House Is Not a Motel” and “Live and Let Live,” but most of Forever Changes is built around interwoven acoustic guitar textures and subtle orchestrations, with strings and horns both reinforcing and punctuating the melodies. The punky edge of Love’s early work gave way to a more gentle, contemplative, and organic sound on Forever Changes, but while Arthur Lee and Bryan MacLean wrote some of their most enduring songs for the album, the lovely melodies and inspired arrangements can’t disguise an air of malaise that permeates the sessions. A certain amount of this reflects the angst of a group undergoing some severe internal strife, but Forever Changes is also an album that heralds the last days of a golden age and anticipates the growing ugliness that would dominate the counterculture in 1968 and 1969; images of violence and war haunt “A House Is Not a Motel,” the street scenes of “Maybe the People Would Be the Times or Between Clark and Hillsdale” reflects a jaded mindset that flower power could not ease, the twin specters of race and international strife rise to the surface of “The Red Telephone,” romance becomes cynicism in “Bummer in the Summer,” the promise of the psychedelic experience decays into hard drug abuse in “Live and Let Live,” and even gentle numbers like “Andmoreagain” and “Old Man” sound elegiac, as if the ghosts of Chicago and Altamont were visible over the horizon as Love looked back to brief moments of warmth. Forever Changes is inarguably Love’s masterpiece and an album of enduring beauty, but it’s also one of the few major works of its era that saw the dark clouds looming on the cultural horizon, and the result was music that was as prescient as it was compelling.” – MARK DENING

Side A
1. Alone again or 00:00
2. A house is not a motel 03:16
3. Andmoreagain 06:48
4. The daily planet 10:06
5. Old man 13:38
6. The red telephone 16:40

Side B
1. Maybe the people would be the times or between Clark and Hilldale 21:31
2. Live and let live 25:05
3. The good humor man, he sees everything like this 30:32
4. Bummer in the summer 33:40
5. You set the scene 36:04

Rage Against The Machine: remember their bombastic debut, a groundbreaking Musical Molotov Cocktail…

01 Bombtrack

02 Killing in the Name

03 Take the Power Back

04 Settle for Nothing

05 Bullet in the Head

06 Know Your Enemy

07 Wake Up

08 Fistful of Steel

09 Township Rebellion

10 Freedom

* * * * *

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Review by Eduardo Rivadavia @ AMG ALL MUSIC GUIDE

“Probably the first album to successfully merge the seemingly disparate sounds of rap and heavy metal, Rage Against the Machine’s self-titled debut was groundbreaking enough when released in 1992, but many would argue that it has yet to be surpassed in terms of influence and sheer brilliance — though countless bands have certainly tried. This is probably because the uniquely combustible creative relationship between guitar wizard Tom Morello and literate rebel vocalist Zack de la Rocha could only burn this bright, this once. While the former’s roots in ’80s heavy metal shredding gave rise to an inimitable array of six-string acrobatics and rhythmic special effects (few of which anyone else has managed to replicate), the latter delivered meaningful rhymes with an emotionally charged conviction that suburban white boys of the ensuing nu-metal generation could never hope to touch. As a result, syncopated slabs of hard rock insurrection like “Bombtrack,” “Take the Power Back,” and “Know Your Enemy” were as instantly unforgettable as they were astonishing. Yet even they paled in comparison to veritable clinics in the art of slowly mounting tension such as “Settle for Nothing,” “Bullet in the Head,” and the particularly venomous “Wake Up” (where Morello revises Led Zeppelin’s “Kashmir” riff for his own needs) — all of which finally exploded with awesome power and fury. And even listeners who were unable (or unwilling) to fully process the band’s unique clash of muscle and intellect were catered to, as RATM were able to convey their messages through stubborn repetition via the fundamental challenge of “Freedom” and their signature track, “Killing in the Name,” which would become a rallying cry of disenfranchisement, thanks to its relentlessly rebellious mantra of “Fuck you, I won’t do what you tell me!” Ultimately, if there’s any disappointment to be had with this near-perfect album, it’s that it still towers above subsequent efforts as the unequivocal climax of Rage Against the Machine’s vision. As such, it remains absolutely essential.”