Laurel Canyon, a rural idyll ten minutes from Hollywood and The Strip, became widely populated after it was settled by developers in the 1920s, who built weekend and vacation properties for wealthy Angelenos intending to spend their leisure time hunting up in the mountains. Later, in the 1960s, Laurel Canyon later became a kind of countercultural centre, as the major names (and many minor names too) of the folk-rock scene bought the funky cabins that used to belong to Charlie Chaplin, Harry Houdini and Louise Brooks. Billy James, of Columbia Records, lived there. Mark Volman of the Turtles. Neil Young, Crazy Horse, Joni Mitchell, Jim Morrison, members of the Buffalo Springfield, the Byrds and the Mamas & the Papas. Even Frank Zappa.
In 1967, Arthur Lee was one of those musicians. The leader of Love, a moderately successful folk-rock band with increasing leanings towards the orchestrated and the psychedelic, Lee was a well-known, striking figure on the LA scene. The son of a black father and white mother, Lee’s very appearance set him apart in the overwhelmingly white world of rock and roll music in the mid-sixties, and his ornery personality and drug-fuelled paranoia merely added to his isolation. He spent most of his time in his house on Mulholland Drive, listening to the sirens and the traffic noise from the city below, obsessing about what the hell was going on down there.
What was going on down there was a crackdown by the police – begun in the summer of 1996 and said to have been instigated at the behest of local business owners – on the kids who hung out in the coffee shops and drugstores and on the street corners of the Sunset Strip, with a curfew instigated for kids under 18. The folk-rock scene had inherited the Strip after it was abandoned by the film stars and gangsters that had made it their playground in the 1930s and 40s, and for a while young musicians and the kids who constituted the scene mingled freely (“There was a magical quality to it,” said Billy James; “like a carnival midway,” said musician/photographer Henry Diltz). But in 1967, concerned about what looked like it might be becoming a countercultural uprising, the new Republican Governor of California – a former actor by the name of Ronald Reagan – doubled down. Police were not sparing with their use of the side-handle.
Lee, like most of his peers, was appalled and it was inevitable that his disillusionment, which coexisted cheek by jowl with his native cynicism, would find its way into his music as he convened his straggling, multi-racial band at Sunset Sound to record Forever Changes. Most of the band members were by now strung out on something or other (heroin and acid mainly, but coke probably figures too, this being Los Angeles) and the sessions did not go smoothly at first, requiring producer Bruce Botnik to bring in session players for the first couple of songs tackled during the sessions (Neil Young is said to have been involved in arranging The Daily Planet, too). It’s amazing they got the thing done at all.
A House is Not a Motel is one of the record’s more musically aggressive tracks, with a twisting, knotted tension that is only released by the duelling lead guitars that take over (both played by Johnny Echols? One by Echols and one by Lee or Bryan MacLean? – the two guitar tracks have a very similar tone, suggesting that maybe they’re two of Echols’s takes playing simultaneously). While A House is Not a Motel lacks the orchestration that is the album’s defining musical characteristic, in its mix of fingerpicked acoustic guitars, intricate drums, lyrical paranoia and screaming lead guitars, it’s quintessential Love.
It’s become part of the record’s legend that Forever Changes failed to sell in great numbers. This is partly an exaggeration; the record did stay on the Billboard chart for 10 weeks, and was a top 30 hit in the UK. Given that Love seldom played outside the Greater Los Angeles Area and band relations were so low that Lee turned down most of the opportunities the band were offered, that wasn’t a bad showing. Today, though, with its utterly idiosyncratic mix of psychedelic rock, acoustic fingerpicking, orchestral pop and mariachi brass, Forever Changes is universally regarded as a masterpiece, one of the very finest LA records and a towering achievement that casts a long shadow over everything Lee did subsequently.