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Four Sail
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| Four Sail | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | August 1969[1] | |||
| Recorded | September–October 1968[2] | |||
| Studio |
| |||
| Genre | Hard rock[3] | |||
| Length | 36:52 | |||
| Label | Elektra | |||
| Producer | Arthur Lee | |||
| Love chronology | ||||
| ||||
Four Sail is the fourth studio album by the American rock band Love, released in August 1969 by Elektra Records.
Background
[edit]By mid-1968, Arthur Lee was the only remaining member of the Forever Changes line-up of Love.[4] Lee quickly assembled a new band, including guitarist Jay Donnellan, drummer George Suranovich and bassist Frank Fayad.[1] The album was rehearsed at Lee's house, and he later rented equipment from Wally Heider Studios with his own money and recorded the album in the Hollywood manufacturing district.[2] Basic tracks were recorded in September 1968,[2] while "Robert Montgomery" and additional overdubs were recorded at Elektra Sound Recorders that October.[1][2] The quartet recorded a total of 27 songs.[1]
Elektra Records's Jac Holzman then selected ten of these songs for release as an album, in order to fulfill Lee's contract.[2] The resultant album, Four Sail, was released by Elektra in August 1969, while the remaining songs were issued by Blue Thumb Records as a double LP, Out Here, that December.[1] With the exception of "Robert Montgomery", Lee's original mixes were enhanced with reverb by Elektra prior to their release on Four Sail, while "Talking in My Sleep" was completely remixed, due to tape damage.[2]
Of the title, Lee explained in 2002, "I was at the end of my Elektra contract and this Four Sail means like a sign on a lawn ... it was actually 'Love for Sale', 'cause I'd had it with Elektra."[2]
Reception
[edit]| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [4] |
| Encyclopedia of Popular Music | [5] |
Writing for AllMusic, Eugene Chadbourne said that "The tracks are deep in feeling and performed with an emotional fervor that sometimes approaches anguish", and that the album "rises above the garage band sound to communicate a sense of time and place as well as some truly sincere feelings." He added that Four Sail might have been better received if released under Lee's own name.[4] In 2019, Bob Stanley wrote in Record Collector that "[t]here was a time when people dismissed Love's very fine 1969 album Four Sail simply because it didn't sound like the sequel to Forever Changes," but noted the album had been "reclaimed" in later times.[6]
In 2014, Four Sail was ranked number 1 on NME's list "101 Albums to Hear Before You Die".[7]
Track listing
[edit]All tracks are written by Arthur Lee, except where noted.
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "August" | 5:00 | |
| 2. | "Your Friend and Mine - Neil's Song" | 3:40 | |
| 3. | "I'm with You" | 2:45 | |
| 4. | "Good Times" | 3:30 | |
| 5. | "Singing Cowboy" | Lee, Jay Donnellan | 4:30 |
| No. | Title | Length |
|---|---|---|
| 1. | "Dream" | 2:49 |
| 2. | "Robert Montgomery" | 3:34 |
| 3. | "Nothing" | 4:44 |
| 4. | "Talking in My Sleep" | 2:50 |
| 5. | "Always See Your Face" | 3:30 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 11. | "Robert Montgomery" (alternate vocal) | 3:41 | |
| 12. | "Talking in My Sleep" (alternate mix) | 2:55 | |
| 13. | "Singing Cowboy" (unedited version) | Lee, Donnellan | 5:52 |
Personnel
[edit]Credits adapted from 2002 CD liner notes.[2]
Love
- Arthur Lee – lead vocal, piano, harmonica, rhythm guitar, conga
- Jay Donnellan – lead guitar
- Frank Fayad – bass guitar, background vocals (tracks 6–7)
- George Suranovich – drums (tracks 1, 5–10), background vocals (tracks 6–7)
Additional musician
- Drachen Theaker – drums (tracks 2–4)
Technical
- Arthur Lee – producer, co-engineer
- George Gaal – engineer
- Peter Schaumann – illustration
- Ed Caraeff – photography
- William S. Harvey – art direction
References
[edit]- ^ a b c d e f g Sandoval, Andrew; Peterson, Gary (1995). Love Story (CD box set liner notes). Love. Santa Monica, California: Elektra Traditions. MCA-27025.
- ^ a b c d e f g h Sandoval, Andrew (2002). Four Sail (CD booklet). Love. Elektra Traditions. 8122 73640-2.
- ^ Segretto, Mike (2022). "1969". 33 1/3 Revolutions Per Minute - A Critical Trip Through the Rock LP Era, 1955–1999. Backbeat. p. 215. ISBN 9781493064601.
- ^ a b c Chadbourne, Eugene. "Love - Four Sail Album Reviews, Songs & More". AllMusic. Retrieved January 18, 2017.
- ^ Larkin, Colin (2007). Encyclopedia of Popular Music (4th ed.). Oxford University Press. ISBN 978-0195313734.
- ^ Stanley, Bob (2019). "Bob Stanley - Record Collector". Record Collector. Retrieved July 29, 2019.
- ^ "101 Albums to Hear Before You Die". NME. Retrieved June 20, 2017.
Four Sail
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Background
Band Lineup Changes
Following the release of Forever Changes in late 1967, the original lineup of Love disbanded in 1968 amid internal tensions, substance abuse issues, and exhaustion from extensive touring, leaving Arthur Lee as the band's sole remaining original member.[6] Lee's reluctance to tour extensively had exacerbated these strains, contributing to the group's dissolution despite their critical acclaim.[7] In mid-1968, Lee, who served as the creative force driving Love's evolution, assembled a new core lineup to continue the band, recruiting guitarist Jay Donnellan, drummer George Suranovich, and bassist Frank Fayad.[8] These musicians, drawn from Los Angeles' local scene, brought fresh energy and technical proficiency to the group.[9] Drachen Theaker, formerly of the Crazy World of Arthur Brown, briefly joined as a temporary drummer for initial sessions before Suranovich became permanent.[9] This personnel overhaul transformed Love's dynamic, moving away from the intricate psychedelic folk-rock of their earlier work toward a more straightforward, harder-edged rock sound that emphasized Lee's songwriting with greater instrumental drive.[8]Pre-Recording Context
Following the release of Love's third album, Forever Changes in late 1967, which garnered widespread critical acclaim for its intricate arrangements and poetic lyrics but achieved only modest commercial performance—peaking at number 154 on the Billboard 200—the band faced mounting internal pressures that precipitated significant changes.[10] By mid-1968, the original lineup had dissolved amid substance abuse issues and interpersonal conflicts, prompting frontman Arthur Lee to assemble a new ensemble as a response to this post-Forever Changes instability.[6] This period marked Lee's deepening personal and artistic struggles, including a growing reluctance to tour extensively, which had already limited the band's promotional efforts for prior releases, and a yearning for creative renewal after years of intense output.[6] These challenges intersected with Love's contractual obligations to Elektra Records, which required one additional album to fulfill the agreement after Forever Changes.[11] Lee's aversion to traditional touring and desire for a fresh sonic direction contributed to a hurried approach to the project, as he sought to close out the deal while experimenting with a rawer, more immediate style reflective of his evolving mindset. In early 1969, the newly formed quartet—featuring Lee alongside guitarist Jay Donnellan, bassist Frank Fayad, and drummer George Suranovich—convened in a makeshift Los Angeles warehouse studio, where they rapidly recorded 27 songs over a matter of weeks.[11] Elektra executives, led by label head Jac Holzman, exercised their right to select 10 tracks from these sessions for the final album, prioritizing material that aligned with the label's vision for Love's swan song under their banner.[11] The remaining songs would later surface on the independent Blue Thumb release Out Here later that year. The album's title, Four Sail, originated as a deliberate pun on "for sale," symbolizing the impending end of Love's partnership with Elektra, as Lee explained in a 2002 interview.[11]Recording and Production
Studio Sessions
The recording sessions for Four Sail commenced in mid-1968, with the band conducting intense rehearsals three to four days a week at Arthur Lee's house in Los Angeles to prepare the material. Basic tracks were laid down that September in a makeshift studio in a rented warehouse in Los Angeles, with Lee personally renting equipment from Wally Heider Studios to facilitate the work. Arthur Lee took on the role of primary producer and multi-instrumentalist, managing vocals, guitar, and arrangements throughout the process, while the new lineup infused the sessions with fresh energy. Overdubs and the completion of "Robert Montgomery" followed in October 1968 at Elektra Sound Recorders in Los Angeles. One significant challenge arose with tape damage affecting "Talking in My Sleep," which required a subsequent remix to preserve the track. The band recorded 27 songs in total during these sessions, with 10 selected for Four Sail and others appearing on the later album Out Here.Technical Production Details
The engineering duties for Four Sail were led by George Gaal, who managed the tracking of basic tracks and the overdubs, with Arthur Lee acting as co-engineer throughout the process. The basic tracks were captured in September 1968, followed by sweetening and overdubs at Elektra Sound Recorders in early October 1968, laying the groundwork for the album's raw energy.[12][13] In the final mixing phase, Elektra Records enhanced Lee's original mixes by adding reverb to most tracks—except "Robert Montgomery"—to amplify the album's hard rock edge and spatial depth. This post-production adjustment contributed to the record's distinctive sonic profile, distinguishing it from Lee's initial vision. The 2019 reissue restored these original mixes without the added reverb for the first time.[14][15] The production incorporated multi-tracking for Lee's vocals and instruments, resulting in the album's layered, psychedelic texture through extensive overdubs that built density and complexity. From an initial pool of 27 recorded songs, Elektra selected and sequenced 10 tracks, focusing on shorter, punchier compositions to suit the label's commercial aims. These technical decisions were informed by the condensed session timelines, ensuring a cohesive final product.[16]Composition
Musical Style
Four Sail marks a notable shift in Love's sound, moving away from the ornate baroque pop arrangements of their 1967 album Forever Changes toward a harder-edged blend of hard rock and psychedelic rock, infused with country-rock and folk-rock elements. This evolution reflects the band's adaptation to the late-1960s rock landscape, emphasizing raw energy over intricate orchestration. The album's overall aesthetic draws on the denser, more aggressive textures emerging in psychedelic music, while retaining subtle folk influences in its melodic structures.[1][11] Central to this style is the prominent role of electric guitars, particularly Jay Donnellan's fiery riffs and solos, which drive the album's dynamic intensity alongside Arthur Lee's rhythm guitar work. The rhythm section contributes a propulsive backbone, with George Suranovich's drums delivering driving, leaden rhythms reminiscent of Keith Moon and Mitch Mitchell, paired with Frank Fayad's buzzing, distorted bass lines that add a rumbling low-end heft. These elements create a raw, energetic sonic profile, characterized by loud-quiet-loud dynamics and extended soloing that heighten the album's psychedelic edge without veering into prolonged experimentation. Influences from the British Invasion's rhythmic punch and the burgeoning heavy rock scene—exemplified by Jimi Hendrix's impact—are evident in tracks like "August," where rumbling bass and bold chord progressions underscore the shift to a more visceral rock framework.[11][17] Clocking in at a total runtime of 36:52 across ten tracks, Four Sail features concise songs averaging 3 to 5 minutes, prioritizing straightforward rock structures over the expansive psychedelia of contemporaries. This approach underscores the album's focus on tight, riff-based compositions that balance accessibility with sonic exploration, marking Arthur Lee's songwriting as the catalyst for this stylistic pivot.[16]Themes and Songwriting
The lyrics on Four Sail predominantly explore themes of personal isolation, strained relationships, and deep introspection, often reflecting Arthur Lee's disillusionment following the relative commercial underperformance of Forever Changes. Tracks like "August" evoke a sense of solitude and emotional withdrawal, capturing the quiet turmoil of being adrift in one's thoughts, while "Nothing" delves into ambiguous emotional states that blend happiness with underlying sadness, underscoring a introspective grappling with inner voids.[11] In "Always See Your Face," Lee conveys raw emotional vulnerability, pleading for connection amid obsession and potential loss, which mirrors his post-fame sense of detachment from the music industry's expectations and personal relationships.[11] These motifs are further highlighted in "Your Friend And Mine – Neil’s Song," an ironic commentary on a fallen acquaintance that blends compassion with critique, illustrating Lee's cynical view of interpersonal bonds frayed by external pressures.[11] Songwriting on the album is almost entirely dominated by Arthur Lee, who receives sole credit for nine of the ten tracks, with "Singing Cowboy" as the sole co-write alongside guitarist Jay Donnellan; this underscores Lee's prolific creativity, as the album was culled from 27 demos he recorded in the wake of Forever Changes' modest sales.[16][2] Lee's approach emphasizes conversational and poetic lyrics infused with psychedelic undertones, yet they are notably more direct and blues-inflected than the abstract, acid-folk leanings of his prior work, allowing for a rawer expression of personal turmoil without dense metaphor.[11] Collaborative input in the songwriting process remained minimal, limited to Donnellan's contribution on one track, which highlights Lee's commanding role in shaping the album's narrative voice and reinforces the introspective isolation echoed in its themes.[11]Release
Commercial Release
Four Sail was released in September 1969 by Elektra Records as the band's fourth and final studio album for the label, fulfilling their contractual obligations before signing with Blue Thumb Records.[18][19] The album's packaging featured a standard LP sleeve with a minimalist design, including a black-and-white band photograph on the front cover and the punning title, with art direction by William S. Harvey.[2] The title Four Sail served as a playful pun on "for sale," alluding to the conclusion of Love's tenure with Elektra.[16] No major singles were promoted from the album, emphasizing its presentation as a complete LP experience. Distribution focused primarily on the United States market, with limited international editions produced through Elektra's affiliates.[2] Elektra Records selected and sequenced ten tracks from the band's 1968 recording sessions to form a cohesive hard rock-oriented album.[20] The album saw reissues beginning in 2002, when Elektra released a remastered CD edition including three bonus tracks: an alternate vocal of "Robert Montgomery," an alternate mix of "Talking in My Sleep," and an alternate mix of "Singing Cowboy."[21]Chart Performance and Sales
Upon its release in September 1969, Four Sail debuted on the Billboard 200 at number 172 and climbed to a peak position of number 102 on October 18, 1969, spending a total of 12 weeks on the chart.[22] This marked a modest improvement over the band's previous album Forever Changes, which had peaked at number 154 in 1968, but it still fell short of the commercial success of Da Capo, which reached number 80 in 1967.[22][22] The album's chart trajectory reflected the increasingly competitive rock market of late 1969, dominated by major releases from artists like The Beatles and Led Zeppelin. No singles from Four Sail achieved significant radio play or charted on major singles lists, such as the Billboard Hot 100, contributing to its limited initial visibility and low sales during the original run. Initial sales were estimated to be modest at best, hampered by the band's reduced prominence following lineup changes and Elektra Records' restrained marketing efforts amid a shifting label focus.[2] The 2002 remastered reissue by Rhino Records revitalized interest, bolstering its cult status among rock enthusiasts and collectors through expanded availability on CD and vinyl.[21] In the streaming era, the album maintains steady niche engagement on platforms like Spotify, with consistent plays driven by its enduring appeal to psychedelic and folk-rock audiences, though it remains far from mainstream revival.Reception and Legacy
Initial Critical Response
The album was widely regarded as a contractual obligation to complete Love's commitment to Elektra Records, particularly as Arthur Lee was the only remaining original member and the band underwent major lineup changes.[23] This perception contributed to its characterization as a transitional work, with Elektra providing little promotional support amid the band's declining visibility following the peak of the psychedelic era.[1] Early reception among underground fans was favorable for its raw energy and Lee's vocals, especially on tracks like "August," though the album was overshadowed by emerging hard rock acts such as Led Zeppelin.Retrospective Appraisal
In the years following its initial release, Four Sail has undergone a significant critical reevaluation, with reviewers highlighting its emotional intensity and robust rock energy as key strengths. AllMusic critic Eugene Chadbourne awarded the album four out of five stars, praising its tracks for their "deep feeling and performed with an emotional fervor that sometimes approaches anguish," while noting the vigor of its rock performances that distinguish it from the band's earlier psychedelic explorations.[1] This assessment underscores the album's raw power, positioning it as a vital, if underappreciated, entry in Love's catalog that captures Arthur Lee's evolving artistry. By the late 2010s, further reclamation efforts emphasized Four Sail's merits as an overlooked hard rock statement. In a 2019 Record Collector column, Bob Stanley described it as a "very fine" album, arguing that its dismissal stemmed from expectations of replicating Forever Changes' baroque psychedelia, rather than recognizing its strengths in hard rock drive and cohesion.[24] Stanley's piece contributed to a broader narrative of the album's rediscovery, framing it as a testament to Lee's resilience amid lineup changes and shifting musical landscapes. The album's enduring appeal was affirmed in 2014 when NME ranked Four Sail number one on its list of "101 Albums to Hear Before You Die," selected by Pete Doherty for its "soul, swagger and passion" and raw authenticity that evokes the gritty essence of 1960s garage rock.[25] This high placement reflected a consensus among contemporary tastemakers that the record's unpolished vigor and emotional directness warranted essential status. Following Arthur Lee's death from leukemia in 2006, Four Sail gained added resonance as a pivotal bridge between Love's psychedelic origins and Lee's subsequent, more fragmented solo endeavors, inspiring posthumous reissues and tributes that celebrated its transitional role. Rhino's 2019 expanded edition, marking Woodstock's 50th anniversary, restored Lee's original mixes and highlighted the album's historical context.[15] Obituaries and memorials, such as those in The Los Angeles Times, positioned Four Sail within Lee's legacy as a bold evolution that influenced later rock acts, prompting discussions and performances honoring his visionary contributions.[6] Tributes from peers, including statements from manager Mark Linn and remembrances in Entertainment Weekly, further elevated the album's status, linking its hard-edged authenticity to Lee's broader impact on psychedelic and alternative rock.[26][27] Sundazed's 2004 high-fidelity vinyl reissue drew on analog session tapes to revive its sonic immediacy.[9]Content
Track Listing
Four Sail features ten tracks, all written by Arthur Lee except for "Singing Cowboy," which credits co-writing to Lee and Jay Donnellan, representing one of the few instances of collaboration on the album.[21][28] The original 1969 LP release divides the songs across two sides, with a total runtime of 36:52.[2] Later reissues, such as the 2002 expanded edition, include bonus tracks like an alternate vocal version of "Robert Montgomery."[21] The album's sequencing emphasizes a dynamic flow suited to vinyl playback, opening with energetic rock-oriented numbers and concluding on a more reflective note.[11]| Side | No. | Title | Duration | Writer(s) |
|---|---|---|---|---|
| One | 1 | August | 5:00 | Arthur Lee |
| One | 2 | Your Friend and Mine – Neil's Song | 3:40 | Arthur Lee |
| One | 3 | I'm with You | 2:45 | Arthur Lee |
| One | 4 | Good Times | 3:30 | Arthur Lee |
| One | 5 | Singing Cowboy | 4:30 | Arthur Lee, Jay Donnellan |
| Two | 1 | Dream | 2:49 | Arthur Lee |
| Two | 2 | Robert Montgomery | 3:34 | Arthur Lee |
| Two | 3 | Nothing | 4:44 | Arthur Lee |
| Two | 4 | Talking in My Sleep | 2:50 | Arthur Lee |
| Two | 5 | Always See Your Face | 3:30 | Arthur Lee |
Personnel
The personnel for Four Sail consisted primarily of the reconfigured lineup of Love, following earlier departures from the original band members, which allowed for a streamlined, self-contained recording process without guest artists.[2] Core band members:- Arthur Lee – lead vocals, guitar, percussion, harmonica, piano, producer[21]
- Jay Donnellan – guitar[21]
- Frank Fayad – bass, backing vocals[21]
- George Suranovich – drums, backing vocals[21]
- Drachen Theaker – drums (on tracks 2–4)[21]
- Arthur Lee – producer, co-engineer[21]
- George Gaal – engineer[21]