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In a move guaranteed to cause perpetual confusion among discographers and '60s collectors, singer/songwriter <a href="spotify:artist:5v1pw97PIJ3RejW5qd6tsL">Arthur Lee Harper</a> billed himself simply as Arthur (no last name) on his first album, 1968's Dreams and Images, and then as <a href="spotify:artist:5v1pw97PIJ3RejW5qd6tsL">Arthur Lee Harper</a> on his second and last, 1969's Love Is the Revolution. It's the same guy who did both records, and he most assuredly has no connection with the famous <a href="spotify:artist:7sECLFfpeGHQYRH7Lvc9pA">Arthur Lee</a> who led the group Love. Arthur, or <a href="spotify:artist:5v1pw97PIJ3RejW5qd6tsL">Arthur Lee Harper</a>, was as mild-mannered a folk-rock singer/songwriter as there was in the late '60s, singing sad songs that emanated fearful uncertainty, as well as slight airs of self-pity and disengagement. His thin voice was so high it almost moved into a range associated with woman singers rather than male ones; if you're looking for a reference point from the period who's almost as obscure, there's <a href="spotify:artist:63CdJg0oOMuOa1X3bgPM1x">Bert Sommer</a>, who had a similarly nearly girlish voice. In some respects the records were much lower-volume, folkier variants of the orchestrated Baroque pop of the early <a href="spotify:artist:1LZEQNv7sE11VDY3SdxQeN">Bee Gees</a>, though of not nearly the same quality, with a reticence that made the late-'60s <a href="spotify:artist:1LZEQNv7sE11VDY3SdxQeN">Bee Gees</a> sound gutsy and forceful. Dreams and Images got at least a little distribution, as it was on <a href="spotify:artist:2aVHDjRHRM7dcFkGwahXLG">Lee Hazlewood</a>'s <a href="spotify:search:label%3A%22LHI%22">LHI</a> label, but Love Is the Revolution got even less of a hearing, as it was privately pressed. The albums weren't very good, but they were combined on a single-CD reissue in 2002 on the <a href="spotify:search:label%3A%22Papa%27s+Choice%22">Papa's Choice</a> label. ~ Richie Unterberger, Rovi
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