Songs See You Again

[Pernille Pennebaker]

Thischange in style was partly because there was another multiracial band on the scene doing Stones-type material, and rather than compete with the Rising Sons they wanted to stand out, but also because the Byrds had a large crowd of followers who would attend all their gigs, the same crowd of hipsters led by Franzoni and Vito who also followed the Mothers of Invention, and it would be a good idea to appeal to a devoted fanbase like that.

The problem was that Conka was using heroin. This would later become a problem for almost every member of the band, but at this time they were all relatively straight with the exception of Conka. They were using a bit of dope and psychedelics, but Conka was a heroin addict, and as heroin addicts will, he started missing work.

But Cohen was still around in some capacity for a while, and he introduced the group to Jac Holzman of Elektra Records, who at this point was starting to get interested in signing rock bands. Love agreed to sign to Elektra, in part because Elektra were the only label they spoke to who would let them keep their own publishing rights. Every other label had wanted to grab their publishing, but Echols and Lee were friendly with the older generation of R&B performers, people like Little Richard, who had told them that that was where the money was and giving it up would be a big mistake.

Three weeks after signing to Elektra they were in the studio. The plan had originally been to use Paul Rothchild as the producer, but he was in prison after a drug bust, and so the album was produced by Holzman and Elektra staff producer Marc Abramson, with assistance from Bruce Botnick, who was engineering and who did the final mix himself. Botnick, and Sunset Sound studios where he worked, had been recommended to Holzman by another Elektra artist and Herb Cohen act, Tim Buckley.

Lee always said that what he would have actually liked to do was to co-write more with MacLean, and to collaborate more equally, but that had never worked out, but MacLean insisted all his life that the main reason he only got one or two songs per album was that Lee knew that songwriting was where the money was and wanted to keep it to himself.

As the group were now having a little success, they decided to move in together, into a huge mansion which had formerly been owned by the silent film director Maurice Tourneur, and which they nicknamed The Castle. The mansion was dilapidated at the time, and the group were allowed to move in for a rent which just covered the cost of the property taxes.

And that meant that Love were also not going to get the same spot on bills outside of California. In LA, they would headline with acts like the Buffalo Springfield and the Doors as their support acts, because everyone knew Love were the top of the heap as far as live acts went. When they had offers elsewhere, it was to play third on the bill to the Strawberry Alarm Clock.

Haran did start getting the group occasional gigs elsewhere, but they were few and far between, and when she did get them a big showcase gig in Dallas, with a huge amount of effort on her part, Bryan MacLean complained that she was getting the same money as the band members, and she started to back away from Love and concentrate on the Doors, who she had also started doing managerial work for.

But even though the album was only a qualified success, the seven-piece lineup of Love was getting more praise than ever in the clubs. This was a band that had already been one of the most versatile bands on the Strip, ranging from psychedelic freakouts to sharp proto-punk to folk-rock jangle, and now they were performing garage rock with jazz flute, songs that sounded like Johnny Mathis singing the Byrds, and songs that were being covered by hip British bands like the Move, and even ripped off by the Rolling Stones!

The tactic worked. The band were shaken, and MacLean was apparently in tears. The two tracks cut with the Wrecking Crew were kept on the album, but Botnick and Lee told the group they were going to postpone the rest of the sessions two months. They had better be able to play the songs when they restarted.

Bruce Botnick has later said that he thinks he could do a better job, and wishes he had the opportunity to do a surround sound remix of the album, but sadly almost all the multitracks and master tapes are lost and presumably destroyed.

Stuart Ware went on to play with Neil Diamond, before retiring from music so that he could stay off drugs. He later wrote an autobiography about his time in Love. Echols went to New York, got himself clean, and got some session work and became a music teacher, Ken Forssi struggled for most of his life, finding it unable to hold down a job because of his addiction issues.

Suddenly, people wanted to know Arthur Lee again, and bands that had been influenced by him started talking about him. He played gigs in the UK, backed by the Liverpool band Shack and by the chamber-pop band the High Llamas, and for the first time since the original band split up he was being backed by musicians who actually cared about his music and had the skill to play it.

And that Move pod was extraordinary. I remember reading that Ace, always a bit unstable, would swing his bass at fans who got too close to the stage.

No denying the talent of that 1st lineup. 4 GREAT singers and to me, Roy fits that oft-overused word: genius.

Whenever I sync my iPhone to my MacBook Pro, it copies the same 823 songs again. This adds several minutes to the sync procedure. It appears that many or most of the songs copied every time are a lower bitrate than average.

A common trigger for this has been data in the Work field when you're not using the Use Work & Movement fields for the same track. This data may have been inherited from values in Grouping during an earlier iTunes update.

Try to identify a few of the songs that are repeatedly syncing, and check to see if they are in .mp3 format, and if so follow the advice on cleaning multiple tags. I.e. select those files then use File > Convert > Convert ID3 Tags... > None a few times to remove all existing tags and then File > Convert > Convert ID3 Tags... > v2.3 to build fresh tags with the information still held in the database. This will remove any embedded artwork. After trying these steps with one or two tracks try syncing twice to see if the resync count changes. Obviously the tracks you've modified will need to update on the next sync, but they might not sync again on the following one. Repeat with more tracks if this appears to be a useful strategy.

Sorry, I responded without refreshing the thread. Another possibility if these are .mp3 files that repeatedly sync is that you have multiple tags that don't quite agree with each other. See Repair security permissions for iTunes for Mac - Apple Community for details.

See Duplicate songs in iTunes/Music - Apple Community to double-check. If you have exact duplicates those may get assigned the same hidden folder/filename on the device, so as tracks are synced one replaces the other. Unlikely from what you say, but I was just racking my brain for known causes of repeat syncing and that one came back to me.

Thanks for the idea, it is intriguing. I created a smart playlist for all songs with data in the Work field. There are 382 of them. The songs being re-synced every time is 823. So that may be part of the problem. I tried to clear the Work field, but I don't know how. And I suspect it won't solve the problem, but it might give me another clue.

Since I last posted, I was able to turn on Use Work & Movement for all the songs, then clear the Work field, then selecting all songs modified today, turn off the Use Work & Movement. Then I did a sync. This time, it only re-synched 822 songs. I'm not sure if I learned anything at all.

Thanks for the idea. I tried it on 128 songs. Question: When you said convert ID3 Tags to None, you said "a few times." How many times is necessary? I only did it two times on the 128 files before rebuilding the tags as you instructed.

I have proof that some of those 128 were (are) re-synching over and over. But still no change. Still re-synching 822 songs every time. Any other ideas? (I waited several days and several syncs to make sure it wasn't helping.)

Certainly twice, but might sometimes need more. You can check in Finder to see if it stops being able to find properties to display. Once there are no properties in Finder, such as artist or album, then converting to ID3v2.3 should put the data back into a single tag.

I appreciate your help. I wish I knew the algorithm that decides which songs to sync and which not, as that might help me narrow it down. I know SSDs have limited life, shortened by writing, and I would rather my phone SSD not be compromised by all this writing of songs unnecessarily.

I can't say exhaustively because I don't know how to identify all 822 songs. However, the ones I have been able to check (by watching the names fly by during sync) are NOT duplicated. By that, I mean they are not repeated in the iTunes (Music) data, AND are not duplicated files on disk.

Hey! I think this is a significant clue! I found a bunch of duplicates (thanks for that article), a few of which I can imagine accidentally duplicating myself. Many are related to iCloud (automatically?) uploading, matching, whatever. I have eliminated a few duplicates and am re-syncing again... In the first sync, the number of songs dropped to 816. Update to follow.

I went into the finder and changed the Music settings for the phone. I changed it from "Entire music library" to "Selected artists, albums, genres, and playlists." Then I included all genres EXCEPT those that contained spoken word instead of music.

"Again" is a song by American rock musician Lenny Kravitz, being the only new song from his first Greatest Hits album, released in 2000. Written, arranged and produced by himself, "Again" was initially set to be on his sixth studio album; however, Kravitz found that the song didn't fit the tone of the album, releasing it instead as the lead single from the compilation on September 22, 2000, through Virgin Records. The mid-tempo rock ballad finds Kravitz wondering if he will ever see his former lover again and if they will reunite once more.

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