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Love: Reel To Real

King Arthur and his knights.

Arthur Lee’s studio swan song (the mini-album on New Rose aside), Reel To Real was his final big-budget attempt at a comeback with a funky crew and an eye on psych soul, as evidenced by his version of William DeVaughn’s Be Thankful For What You Got.

Reissued here with a bundle of alternate versions and unreleased material, the old Love style is still apparent in Time Is Like A River, the remade Singing Cowboy and Everybody’s Gotta Live.

Though not as good as Four Sail or Out Here, this 1974 affair is still proof that the man had a God-given voice with talent to spare – and squander.

The new-look Love had ferocious rock credentials but the songs were less compelling; throwaway even, in the case of Which Witch Is Which. Some smart arrangements can’t alter the feeling that this is too hands-off for its own good.

Max Bell worked for the NME during the golden 70s era before running up and down London’s Fleet Street for The Times and all the other hot-metal dailies. A long stint at the Standard and mags like The Face and GQ kept him honest. Later, Record Collector and Classic Rock called.