I Love You Forever Song Download
Loruhama Powe
I will sing of your steadfast love, O Lord, forever; with my mouth I will proclaim your faithfulness to all generations.2I declare that your steadfast love is established forever; your faithfulness is as firm as the heavens.3You said, I have made a covenant with my chosen one, I have sworn to my servant David:4I will establish your descendants forever, and build your throne for all generations. Selah19Then you spoke in a vision to your faithful one, and said: I have set the crown on one who is mighty, I have exalted one chosen from the people.20I have found my servant David; with my holy oil I have anointed him;21my hand shall always remain with him; my arm also shall strengthen him.22The enemy shall not outwit him, the wicked shall not humble him.23I will crush his foes before him and strike down those who hate him.24My faithfulness and steadfast love shall be with him; and in my name his horn shall be exalted.25I will set his hand on the sea and his right hand on the rivers.26He shall cry to me, You are my Father, my God, and the Rock of my salvation!
17and that Christ may dwell in your hearts through faith, as you are being rooted and grounded in love. 18I pray that you may have the power to comprehend, with all the saints, what is the breadth and length and height and depth, 19and to know the love of Christ that surpasses knowledge, so that you may be filled with all the fullness of God.
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After reading your initial write up of the album reissue, I did some googling and became really intrigued. Then I went ahead and just bought the album at my local record store. Blown away. How I missed it is beyond me, but now I'm trying to spread the "love" around with my friends. Thanks, Mr. Fremer!
Mikey gave the overview and there's nothing I can add to it. I will say that the words to the songs never really got to me, but they were very apt to the musical tapestry. And what a tapestry! Love establish a mood at the beginning and never let up till the end. A year and a half later I bought Four Sail....and oh dear.
I also got a chance to see the original group in the spring of 68 on tour when they supported another act (like maybe Ten Years After) and it was disappointing, One of the guitar players seemed to be nodding out onstage and Lee was obviously in a bad mood. The performance of their various songs was a shambles and I'm making allowance for the fact that the FC songs couldn't really be duplicated. It was a mess.
Just got this. The only version I ever heard was via streaming. It sounded good. But I never truly paid attention like I am right now. I call myself a 2nd generation sixties fan...born at the end of the decade. That being said I was greatly impressed by this particular album/vinyl release. As a musician myself...I am very critical of production but also understand that sometimes over production is worse than underproduction. On this release they hit the mark. Its exactly where is needs to be for it to be timeless yet of the time. The songs seem to be personal yet "every man". The times were crazy...all times are crazy...its humanity. And this album speaks to me as a songwriter and musician and music lover. We all pour ourselves more or less into the music we create. And here...we have beauty..tragedy..desperation and humanity. All these aspects make this album important and timeless. And yet...you can still just listen to the songs and not be bogged down by any of those things. Wonderful production...great care to the sound...Im impressed.
INTRO.: A song which emphasizes the everlasting love of Christ which offers us salvation from sin and the hope of eternal life is "Immortal Love, Forever Full." The text was written by John Greenleaf Whittier (1807-1892). Known as "the Quaker Poet," he penned these words as part of a larger poem of 38 stanzas entitled "Our Master" in 1866. It was first published in his Tent on the Beach and Other Poems in 1867. Several arrangements of stanzas from this poem have been used as hymns by various hymnbook editors at different times.
If I were reviewing only the original material that forms the basis of this Collector's Edition of Love's Forever Changes, I'd certainly give it a 10.0 and praise it in the most glowing terms possible. Such as: Fuck the Doors. This is the truer sound of late-1960s Los Angeles, which was neither a trippy paradise nor a Lizard Kingdom, but a purgatory characterized by paranoia and grievance. Already veterans of the local scene when they released their third and best album, Love captured the city in all its grizzled glory on Forever Changes-- or, rather, Arthur Lee did. A charismatic black singer/songwriter in a mixed-race band but a generally white scene, he had soured on the hippies and sunshine mentality, and instead saw the Vietnam War, his friends' drug addictions, and the end of the world. Sequestered in a house high in the Hollywood hills, he could look down at the city below and nurse a curious dread. Eventually, he became convinced that his death was looming and that Forever Changes would be his final statement to the world. So he became a rank perfectionist, expressing all his unhappiness, fear, blame, and hope not only in his dark, discomfiting lyrics, but in the music itself, which draws from rock, pyschedelia, folk, pop, classical, and even mariachi. Ultimately, the album belongs to none of those genres.
Lee's faltering grasp on any overriding narrative, however, comes through more strongly in the shape of the music, which is diverse and logical, but tricky-- full of feints, blind alleys, unusual passages. The traditional structures that served the band so well on its two previous albums (Love even covered Bacharach-David) are jettisoned in favor of more circuitous arrangements like "A House Is Not a Motel", which moves linearly, but repeats almost nothing. Even the most direct, lucid songs convey a sense of vague menace, the first sight of the storm out to sea. "Maybe the People Would Be the Times or Between Clark and Hilldale", perhaps the catchiest song here, surveys Los Angeles' music scene from Lee's perspective as he seems to bid conspicuous farewells to the venues and audiences. There's an acceptance and perhaps even a relief in his resignation: Listen to Lee sing along with the trumpet solo, his excitement driving and driven by the music.
Forever Changes is both context and text, but none of it is academic. It's a rock album and, despite its tangles of meaning, a surprisingly accessible and enduring one. Nevertheless, as amazing as these songs are, this particular edition of Forever Changes is definitive only by default. Its similarities to the 2001 edition suggest an obligatory undertaking, offering few revelations about the album or the musicians who made it. The new liner notes were written by Andrew Sandoval, who produced the previous edition and contributed a short introduction. His access to the band members is valuable (he interviewed Lee many times before the singer's death in 2006), but he seems more interested in detailing the creation of the record than in exploring what it means or why it persists. The bulk of the bonus material consists of an alternate mix of the album, which pushes Lee's vocals to the forefront, deviates occasionally from the well-known stereo version, and generally recalls those Elektra anniversary editions of Love's previous albums. Otherwise, six of the 10 new bonus tracks appear on the original reissue, while one track is noticeably absent. Several are tracking sessions, full of count offs, false starts, and abrupt stops. This is by definition for-fans-only material. The only real discovery is their lackadaisical take on "Wooly Bully", which begins and ends so unceremoniously that it sounds wholly improvised, the byproduct of too much downtime in the studio.
"Bittersweet Symphony" by The Verve samples an obscure orchestral arrangement of the 1965 Rolling Stones song "The Last Time." The Verve had to sign away most of the royalties before they could release the song.
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