Arthur Lee (LOVE) has leukemia, and he doesn’t have insurance. Please support the benifit concerts to help with his medical expenses.

June 23 NYC Beacon Theatre

Robert Plant, Ian Hunter, Ryan Adams, Nils Lofgren, Yo La Tengo, Garland Jeffreys, Flashy Python and The Body Snatchers (featuring Alec Ounsworth of Clap Your Hands Say Yeah) plus very special guests to be announced soon.



June 28

Los Angeles


Tickets available at the door. $30 cash donation.
Advance tickets can be purchased by sending a cashier’s check in the amount of $30 per ticket, along with a stamped, self-addressed envelope to:
Large Jar Music
12440 Moorpark Street #117
Studio City, CA 91604

Requests must be postmarked no later than June 17th to insure ticket delivery.

Performers: BABY LEMONADE, Michael Stuart-Ware, Vince Flaherty and his band The Invincebles.
Johnny Echols will be performing with BABY LEMONADE and also with Michael Stuart-Ware and other former members of LOVE, including Robert Rozelle and Melvan Whittington. Plus a couple of "surprise" guests.

If you cant attend either of the concerts, please make a donation

4 Responses to “ARTHUR LEE AND LOVE”

  1. Anea

    I can’t imagine a world without Arthur Lee performing “7 & 7 Is”! I wish that I could make it to either of the shows, they should try to set one up in Austin as well – it is the live music capital of the states after all, I am sure they could raise some funds here as well. Thanks for the info Papa!

  2. Linus

    June 29, 2006
    The line of fanatics stretched well into the next block before the Whisky a Go Go opened its doors at 8:00 pm last Wednesday June 28, for the “Labour of Love Concert”, a family affair put on by Love co-founder Johnny Echols and other musicians linked with the original Love lineup.
    Waiting to get in were an array of older hippies, young hippies, straight looking older folks, who might have once been young hippies, straight looking young people, a contingent of as many hard core punkers, and more than a sprinkling of Goth.
    The performers these music lovers wanted to see had something in common, timeless rock and roll with a foundation in folk and blues, and a bit of psychedelia and flamenco influences on the side, and the eclectic look of the audience mirrored that wide range in musical diversity.
    Punk, goth and new age hippies showed up to see Vince and the Invincebles, a local band noted for randomly popping up out of the lagoon and onto the L.A gig scene at the end of the movie – and Vince, notorious for his faux pas of seriously wrecking all the equipment before or during the show, as opposed to during the last number as was the calculated modus operandi of certain more reasonable acts.
    Wednesday night’s carnage may have been exacerbated by a problem between sound levels from the stage monitors and the inadequate levels heard over the house PA. Vince began singing into mikes and then dropping or throwing them to the ground , before moving on to sing through another mike, and then repeating the process, all to the dismay of the Whisky crew who were attempting to keep mikes standing.
    Before the set was over, most of the mikes and stands on the stage had been violently smashed, and one of the stands stuck into a Marshall, which caused a problem because the amp belonged to someone other than the Invincibles. The chaos was to the delight of the punkers, but to the apparent anxiety of some of the straights and older hippy types. Despite the sound problem, and whether Vince’s wild man antics were real or part of the act, the Invincebles laid down a few finely crafted songs, delivering an amazing guitar driven performance, before Johnny Echols came on stage and asked them to cool it and introduce the next act.
    Vince then introduced the charismatic Willie Chambers who sang a version of Long Tall Sally that will live in history. The Invincebles rose to the occasion, sounding like Little Richard’s band if you were to close your eyes. Hard to top that, but Willie did, following up with an intense gospel style rendition of the Curtis Mayfield tune “People Get Ready”. Invincibles Guitarfreak Rick Brannon and Willie traded solos in a realm somewhere between Jeff Beck and T-bone.
    Originally a popular gospel group from the southeast Missouri, Alabama, Tennessee and Louisiana states, the Chamber Brothers developed a unique religious psychedelic style that catapulted them to popularity in the turbulent 60’s with hits like the socially conscious “Time Has Come Today”. For many in the audience who heard Willie Chambers vocal stylings and guitar chops on Wednesday night at the Whisky, the whole show had taken on the proportions of a religious psychedelic experience.
    Next up, Johnny Echols joined Vince and the Invincebles for a wild version of Love’s Bummer in the Summer, which left the crowd screaming. This is, after all, what many of them had come to see. They finished up with the outrageous Invincebles tune Rightful Light, which climaxed with Echols playing his guitar behind his head and the Invincebles guitarists and bass player following suit. In conclusion, the headliner, Johnny Echols with Baby Lemonade, then took the stage.
    Baby Lemonade, in case you didn’t know, is the band that backed up Arthur Lee and Johnny Echols performing the Arthur Lee and Love catalogue, under the moniker of Love from 1992 to 2005. Sitting in for a couple of tunes was also Love’s drummer from the Forever Changes era, Michael Stuart.
    For all the variegated press about Lee, he is regarded by some to be the father of garage band punk and at the same time highly renowned and revered for his more classical compositions on Love’s best selling album, Forever Changes. Love were no doubt at the epicenter of the start of the whole hippy thing. They were literally a part of just a handful of the very first hippies. Even the flamboyant gypsy style clothes the first hippies wore were hand made in the studio of Love’s friends, L.A. underground artists Sue and Vito Paulekas.
    From a detached vantage point in the Hollywood Hills, Love watched the whole hippy movement take off and explode. They took over as reigning gentry of the L.A. scene when the Byrds, accompanied by Vito and Sue and their colorfully dressed dancers, continued to spread the contagious Peace and Love look and lifestyle throughout main American cites on the Byrds first cross country tour.
    Because of their rebellious attitude and legendary unwillingness to tour outside of the comforts of home, Love never became as well known as their contemporaries, The Doors or the Buffalo Springfield. But despite their unruliness from a public relations standpoint, they gained a large underground, almost cult-like following, particularly in their hometown Los Angeles, and came to enjoy an immense popularity in England and Europe. A recent poll of the European radio disc jockeys voted Forever Changes not only the number one psychedelic record, but also the number one rock and roll record of all time!
    The blues, jazz and folk inspired psychedelic mix of music made by Love, captured the spirit of the times in which they played, and this evening at the Whisky was perhaps one of the best and last opportunities local Love fans would have to catch a whiff of the dream again. There was a lot going on in the 60’s, and there was a lot going on at the Whisky a Go Go on Wednesday night. Love’s Michael Stuart’s drumsticks blurred to the rhythm of “My Little Red Book.” I’ve never seen a drummer holding the high hat open and shut as he hits it before. Great technique. Daddy-o Green, Lemonade’s regular drummer, coloured “Old Man” with cymbal splashes, and drove the band on through “Clark and Hilldale”. He was fast and clean, like the hot sun holding you when you’re digging the reflections on the sea. Rusty Squeezebox’s voice gave the Arthur Lee Love fans a good listen, and his guitar work was impeccable. Dave Chapple stood out and handled his bass like Rimbaud handles a saucy poem. He ‘sparked’ of the glory days. Mike Randle’s guitar was part of his body, his presence an egoless whisper compared to the music. Love’s Johnny Echols was the mystical sage, throwing the pot. His vocal on “Signed D.C.” and his fresh solo on “Seven and Seven Is”, was chilling. The energy of all these artists compounded on stage, and along with their timeless music, they conveyed the joy of knowing just how good they are.

  3. Linus

    Forever Love
    Arthur Lee, 1945-2006
    Monday, August 7, 2006 – 5:00 pm
    Arthur Lee, the troubled, brilliant leader of the psychedelic rock band Love, died Thursday in a hospital in his hometown of Memphis, Tennessee. Lee, who had been hospitalized for several months due to leukemia, was 61.
    A singer-songwriter capable of both extraordinary sensitivity and untamed ferocity, Lee was at the forefront of mid-’60s Los Angeles’ rock & roll revolution. With the vastly influential 1966 single “7&7 Is” (also featured on Love’s ’67 Da Capo album) and the classic 1967 long player Forever Changes, he created unrivaled masterpieces, the former for its ultradynamic, protopunk intensity and the latter for its ambitious, passionate depth.
    From the moment he attained majority in Los Angeles in the early ’60s, Lee was searching for a way to express himself, working with everyone from East L.A. big-beat teen queens the Arvizu Sisters to Hollywood bad boy Vince Flaherty. He cut the occasional one-off single and mixed it up in the increasingly wild packs that roamed the Sunset Strip, finally joining guitarist Johnny Echols in the expanded bag that came to be known as Love. One of their first moves was strikingly unorthodox — a freaky cover of Burt Bacharach’s “Little Red Book,” a signal that Lee was not averse to taking on just about anything that held appeal and transforming it into something entirely different.
    Subject to bouts of epic self-indulgence — the 18-minute “Revelation” — and known for making some spectacularly wrong-headed choices (he turned down a slot on the Monterey Pop festival that cemented Hendrix and Otis Redding as essential to the white pop audience), Lee didn’t just supply the soundtrack for the lysergic-fueled tribes of ’67, he lived it. His was the Owsley diet, tripping the Strip fantastic at hallucinatory full tilt — a former roommate recalls that Lee once went an entire year without wearing shoes — and it seemed he had little time for the drab limitations of reality. An increasingly strange personal life didn’t much hinder Lee’s art; he always wrote with a delicate, surrealist, stream-of-consciousness approach, bending language any way that suited him. He never took the predictable lyrical route (check Love’s “Singing Cowboy,” an affectionate acknowledgment of childhood heroes Roy Rogers and Gene Autry), and delivered lyrics with fragile, bittersweet understatement.
    After Love evaporated, Lee kept faithfully chopping away, gigging and recording, but without the same dramatic impact he had achieved with Love. By the late ’80s, he seemed almost irrevocably damaged, but even when it appeared he’d forgotten the song, Lee always made it back to the mike just in time to keep the show going. He was also tremendously frustrated (“What are y’all doing to my music?” he’d yell at the band. “This is supposed to be legendary congo, with a psychedelic twist!”) until local popsters Baby Lemonade signed up as an ideal backing band. Despite the scars, and some hard time in prison during the 1990s, Lee soldiered on with his characteristic mixture of tender aesthetics and volatile bombast. But few seemed to care. Long story short, he was the riot on the Sunset Strip, and there ought to be a goddamned 25-foot-high statue of him there, right between Clark and Hilldale.
    © Copyright 2006 LA Weekly, LP

  4. Burl Barer

    Thanks for the wonderful LA Weekly material — damn right — there should be a 25′ statue of Arthur Lee rith there between Clark and Hilldale.


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