Love

But we forgot to tell, you mentioned the song.

Amos Lee and the band Love, they wrote a song, Everybody's Gotta Live.

It's a very basic song, but it's got a nice sound to it.

He says, everybody's gotta live and everybody's going to die.

Things like, you know, we've spoken about Pink Floyd earlier as an influence and stuff.

For me, it would be a section like that and one of her songs would be from I Love the Incredible String Band.

They had some stage and I would... you know play an open chord and you know sing much much better than i can kind of over it you know mike heron or robin williamson kind of you know just just loading over this just kind of really interesting atmosphere to listen to and i suppose yeah that bridge between remnants and origins was that kind of uh bring in basically that space into this record.

Did you find it easier to sing on a kind of slow moving track like that Si? How do you approach it?

Yeah.

But maybe.

If I had to be pushed, probably Forever Changes by Love.

Yeah.

... mod, moddy.

And I was at, in the upstairs bit, and so I'd be playing kind of, um, what was I playing? Kind of, um, like, lots of soul, Northern Soul records and things like Love and Captain Beefheart were really popular, and still are in Liverpool.

[laughs]

Yeah.

Wow, Love.

You were playing Love.

Yeah.

"Forever Changes" you mean.

So they invited in a local band who had released one R&B single on A&M Records and were making a few waves.

They were, for example, booked on the bottom of the bill on the Beach Boys Summer Spectacular, below The Birds, the Loving Spoonful, Chad and Jeremy, and Love.

Their drummer, Vic Mortensen, later told the story.

"We set up and start knocking out a few of our tunes, which in those days would have preceded Call on Me.

Vic Mortensen, the main source for that anecdote, remembered it as being an earlier manager who they ditched quickly, but that timing doesn't make sense.

Soon the group were recording their first demo, which shows them as trying at this point to fit into the folk rock scene that was taking over LA at the time.

Call on Me shows the influence of The Byrds and could easily be an album track by Love or even The Turtles.

Call my name whenever you're lonely and blue.

See what I did there? Sinead O'Connor.

And we started off with Do You Love Me Now by The Breeders.

I just got a text from these guys.

They're taking maybe the public bus down here from the studio.

Very amicable breakup.

Before that, the Blues Magoos with We Ain't Got Nothin' Yet.

Great Vox organ in there and started it off with Love, My Little Red Book.

Fantastic music from Love at every phase of that band.

With a great guitar solo involved as well, this is close to my favourite song of his from this era.

This is backed up by the segue into the cover of Seven and Seven Is, originally performed by the band Love in the 1960s.

It is a remarkably faithful adaption of the original, even with it being Alice Cooperised for this album.

Once again, the synth moved between songs in a nice conglomeration of the two tracks and the drumming further consolidates the excellent start.