![]() Ann Nesby - Love Is What We Need Lyrics. Anytime you need me Anytime want me Call me, just call me, yeah, yeah Love is what you need Anytime you need me I got love. Lyrics to 'The Love That We Need' by Hayes Carll. You say i love you / I say me too / We dont think much about it, its just a thing that we do / We go out. Attention music fans. Microsoft Store will stop selling music on Dec. Download your tracks and read our FAQ for more info. Find a Ann Nesby - Love Is What We Need first pressing or reissue. Complete your Ann Nesby collection. Shop Vinyl and CDs. ![]() Lyrics to 'Love Is All We Need' song by Total: Love is all we need It is the key that holds us together now I need to know what you want I need to. ![]() US picture sleeve by ' Released 7 July 1967 Format Recorded 14 and 19–25 June 1967, London;, London Length 3: 57, singles chronology '/' (1967) 1967 ' All You Need Is Love' (1967) All You Need Is Love1967 ' (1967) 1967 ' All You Need Is Love' is a song by the English rock band that was released as a non-album single in July 1967. It was written by and credited to. The Beatles performed the song over a pre-recorded backing track as Britain's contribution to, the first live global television link. Watched by over 400 million in 25 countries, the programme was broadcast via on 25 June 1967. The song captured the sentiments of the era and topped singles charts in Britain, the United States and many other countries. 'All You Need Is Love' was later included on the US album. It also appears in a sequence in the Beatles' 1968 animated film and on the. Contents • • • • • • • • • • • • • • • • • Background and inspiration [ ] For Our World, the Beatles were asked to provide a song with a message that could be easily understood by everyone. The band undertook the assignment at a time when they were committed to two film projects: a planned television special,, and the animated feature, for which they were contractually obliged to to supply four new recordings. 'All You Need Is Love' was selected for Our World for its contemporary social significance over the -written '. In a statement to magazine,, the band's manager, said of 'All You Need Is Love': 'It was an inspired song and they really wanted to give the world a message. The nice thing about it is that it cannot be misinterpreted. It is a clear message saying that love is everything.' Lennon later attributed the song's simple lyrical statements to his liking of slogans and television advertising. He likened the song to a piece, adding: 'I'm a revolutionary artist. My art is dedicated to change.' Author views it as the Beatles' 'most political song yet' up to 1967 and the origins of Lennon's posthumous standing as a 'humanitarian hero'. In the book, McCartney and say they were unsure whether 'All You Need Is Love' was written for Our World, while and, the Beatles' producer, assert that it was. McCartney said: 'It was certainly tailored to [the broadcast] once we had it. But I've got a feeling it was just one of John's songs that was coming anyway.' Composition and musical structure [ ] The song starts with the intro to the French national anthem, ', and contains elements from 's 1939 hit ', as well as elements from 's 1958 hit '. 'All You Need Is Love' is notable for its asymmetric time signature and complex changes. The main verse pattern contains a total of 29, split into two, a single of 8 4, followed by a one bar return of 7 4 before repeating the pattern. The chorus, however, maintains a steady with the exception of the last bar of (on the lyric 'love is all you need'). The prominent cello line draws attention to this departure from pop-single normality, although it was not the first time that the Beatles had experimented with varied metre within a single song: ' and ' were earlier examples. The song is in the and the verse opens (on ' There's nothing you can do') with a and D melody note, the shifting in a I–V–vi while the simultaneously moves from the (G) note to the root note of the (), via an, supporting a first inversion D chord. After the verse 'learn how to play the game, it's easy', the bass alters the prolonged V (D) chord with F ♯, E, C and B notes. The song is notable for a dramatic use of a dominant or V chord (here D) on 'It's easy.' The 'Love, love, love' chant involves chords in a I–V7–vi shift (G–D–Em) and simultaneous descending B, A, G notes with the concluding G note corresponding not to the tonic G chord, but acting as the third of the E minor chord; this also introducing the E note of the Em chord as a 6th of the tonic G scale. Supporting the same melody note with different and unexpected chords has been termed a characteristic Beatles technique. The song's use of quotations from other musical works follows an approach adopted by the Beatles in Harrison's composition ', which similarly reflects the ideology behind the during the 1967. George Martin recalled that in 'All You Need Is Love' 'the boys. Wanted to freak out at the end, and just go mad'. During the long fade-out, elements of various other songs can be heard, including ', Invention No. 8 in F major (BWV 779) by, ', and the Beatles' own songs ' and '. The first of these three pieces had been included in the arrangement by Martin. 'She Loves You' and 'Yesterday' were the result of improvisation by Lennon in rehearsals – he had also experimented with interpolating ' – although it was McCartney who led 'She Loves You' on the subsequent studio recording. Like musicologist, views the 'She Loves You' refrain as serving a similar purpose to the wax models of the Beatles depicted on the cover of Sgt. Pepper, beside the real-life band members, and therefore a further example of the group distancing themselves from their past. In his book Rock, Counterculture and the Avant-Garde, author Doyle Greene describes the combination of the 'Love is all you need' refrain, 'She Loves You' reprise, and orchestral quotations from Bach and Miller as 'a joyous, collective anarchy signifying the utopian dreams of the counterculture topped off with a postmodern fanfare'. Recording [ ] Backing track [ ] The Beatles began recording the for the song at in south-west London on 14 June 1967. The producers of Our World were initially unhappy about the use of a backing track, but it was insisted upon by Martin, who said that 'we can't just go in front of 350 million people without some work'. The lineup was Lennon on, McCartney on, Harrison on violin – three instruments that were unfamiliar to the musicians – while Starr played drums. The band recorded 33 takes, before choosing the tenth take as the best. Over the following days, they recorded overdubs including vocals, piano (played by Martin), banjo, guitar and orchestral parts. Live broadcast [ ]. There was a tremendous feeling that [the Beatles] really did believe all this, and they'd very consciously written an anthemic piece that could be understood worldwide. This was the first time TV had been beamed to so many countries, and obviously most of the listeners wouldn't be English speakers. They wrote something really, really basic, and yet still got the message across. –, 2007 The Our World broadcast on 25 June cut to Abbey Road studios at 8:54 pm London time, about 40 seconds earlier than expected. Martin and engineer were drinking to calm their nerves for the task of mixing the audio for a live worldwide broadcast, and had to scramble the bottle and glasses beneath the mixing desk when they were told they were about to go on air. McCartney and Lennon performing 'All You Need Is Love' on Our World. Music journalist has described the Beatles' performance as 'one of the strongest visual impressions' from the. For the broadcast, the Beatles (except for Starr) were seated on stools, accompanied by a thirteen-piece orchestra. The band were surrounded by friends and acquaintances seated on the floor, who sang along with the refrain during the fade-out. These guests included,,,,,,, and. The studio setting was designed to reflect the communal aspect of the occasion while also demonstrating the position of influence that the Beatles held among their peers, particularly following the recent release of their album. Many of the invitations were extended through Beatles aides and Tony Bramwell, who visited various London nightclubs the night before the broadcast. Also among the studio audience were members of and the design collective. Balloons, flowers, streamers and 'Love' graffiti added to the celebratory atmosphere. The Beatles and their entourage were dressed in psychedelic clothes and scarves; in his report on the performance, likened the setting to a medieval gathering, broken only by the presence of modern studio equipment such as large headphones and microphones. According to Michael Frontani, an associate professor of, whereas Sgt. Pepper had showed the Beatles as artists and 'serious musicians', the broadcast emphasised their identity as members of the hippie counterculture. The segment opened with the band simulating a rehearsal for about a minute, before Martin suggested that the orchestral musicians should take their places for the recording as the tape was rewound. The Beatles, the orchestra and the guests then overdubbed onto the pre-recorded rhythm track. In addition to the lead and backing vocals and the orchestra, the live recorded elements were McCartney's bass guitar part, Harrison's guitar solo and Starr's drums. Lennon, affecting indifference, was said to be nervous about the broadcast, given the potential size of the international TV audience. Dissatisfied with his singing, he rerecorded the solo verses for use on the single. Starr also overdubbed a drum roll at the start of the track, replacing a tambourine part. The programme was shown in since colour television had yet to commence broadcasting in Britain and most of the world. The Beatles' footage was colourised, based on photographs of the event, for the 1995 documentary. Over the documentary's end credits, a snippet of studio conversation from the 25 June overdubbing session includes Lennon telling Martin: 'I'm ready to sing for the world, George, if you can just give me the backing ' The colour version of the band's Our World appearance also appears on the Beatles' 2015 video compilation. Release and reception [ ] The day before the Our World broadcast, the Beatles decided that the song should be their next single. Issued in the UK on 7 July 1967, with ' on the B-side, it entered the at number 2 before topping the listings for three weeks. It was similarly successful in the United States after its release on 17 July, reaching number one for a week. In his feature on the song in, writes that 'All You Need Is Love' 'hit Number One all over the world, providing the sing-song anthem for the Summer of Love, with a sentiment that was simple but profound'. The single was certified by the on 11 September 1967. The Aegean Sea, off the coast of Greece. In the weeks following the release of the single, the Beatles holidayed on the Aegean in search of an island on which to establish a private commune. According to author Jonathan Gould, the Beatles 'bask[ed] in the glow of their artistic achievements' while enjoying their first summer free of tour commitments, having quit performing concerts the previous year. In late July, the band investigated the possibility of buying a Greek island with a view to setting up a hippie-style for themselves, their partners and children, and members of their inner circle such as, Evans, Epstein and. After sailing around the and approving a location on the island of Leslo, the Beatles decided against the idea and returned to London. In early August, Harrison, accompanied by a small entourage including Taylor and Aspinall, made a highly publicised visit to the international hippie capital of, in San Francisco. Writing in 2001, said that the Beatles' performance on Our World 'remains one of the strongest visual impressions of the summer of love'; Womack describes it as 'flower power's finest moment'. Rolling Stone ranks 'All You Need Is Love' 370th on its list of the '500 Greatest Songs of All Time' and 21st on its '100 Greatest Beatles Songs' list. Placed it at number 28 on a similar list of the best Beatles songs. In his commentary for the magazine, producer and musician admired the track's 'jumbled-up mix of music – marching band and rock'n'roll' and recalled the Beatles' Our World appearance as 'a signal for those [of us] who felt we were trapped in a mental hospital in some suburban town to break out'. 'All You Need Is Love' was also included on the American version of in November 1967, and on the Yellow Submarine, and 1999 '. As a statement on the power of universal love, the song served as the moral in the film. It plays over a scene where Lennon's character defeats the by throwing the word 'Love' at their evil Flying Glove. The track is also featured in 's show, based on the songs of the Beatles, and its 2006. Cultural responses and legacy [ ]. A demonstrator offers a flower to military policemen during an anti- demonstration in October 1967 (photo by ). 'All You Need Is Love' provided an anthem for the movement but has since attracted criticism for its simplistic message. According to author, 'All You Need Is Love' served as 'the anthem of flower power' during the summer of 1967 but also, like the Beatles' Sgt. Pepper album, highlighted the ideological gulf between the predominantly white hippie movement and the increasingly political ghetto culture in the United States. Wiener says that the song's pacifist agenda infuriated many student radicals from the and that these detractors 'continued to denounce [Lennon] for it for the rest of his life'. Wiener also writes that, in summer 1967, 'links between the counterculture and the New Left remained murky', since a full dialogue regarding politics and rock music was still a year away and would only be inspired by Lennon's 1968 song '. Doyle Greene writes that because of its presentation as the conclusion to Our World, 'All You Need Is Love' provided 'a distinctly political statement'. He says that the song was 'selling peace' on a program that aimed to foster international understanding in a climate of hostility, the and revolutionary unrest in the. In the decades following the release of 'All You Need Is Love', Beatles biographers and music journalists have criticised the lyrics as naive and simplistic and detected a smugness in the message; the song's musical content has also been dismissed as unimaginative. Writing in 1988, author and critic identified the track's 'internal contradictions (positivisms expressed with negatives)' and 'bloated self-confidence ('it's easy')' as qualities that rendered it as 'the naive answer to ''. Maybe in the Sixties we were naive and like children and later everyone went back to their rooms and said, 'We didn't get a wonderful world of flowers and peace.' Crying for it wasn't enough. The thing the Sixties did was show us the possibility and the responsibility we all had. – John Lennon, 1980 Mark Hertsgaard considers 'All You Need Is Love' to be among the Beatles' finest songs and one of the few highlights among their recordings from the Magical Mystery Tour– Yellow Submarine era. In his opinion, Lennon's detractors fail to discern between 'shallow and utopian' when ridiculing the song as socially irrelevant, and he adds: 'one may as well complain that was a poor singer as criticize Lennon on fine points of political strategy; his role was the Poet, not the Political Organizer.' Views the song as 'one of The Beatles' less deserving hits' and, in its apparently chaotic production, typical of the band's self-indulgent work immediately after Sgt. Regarding the song's message, McDonald writes: During the materialistic Eighties, this song's title was the butt of cynics, there being, obviously, any number of additional things needed to sustain life on earth. It should, perhaps, be pointed out that this record was not conceived as a blueprint for a successful career. 'All you need is love' is a transcendental statement, as true on its level as the principle of investment on the level of the stock exchange. In the idealistic perspective of 1967 – the polar opposite of 1987 – its title makes perfect sense. In 1978, parodied 'All You Need Is Love' in their song 'Love Life'. In 2009, George Vaillant, the chief investigator of the, which tracked 268 Harvard undergraduates for a period of 80 years with the goal of finding what factors led to happiness, stated that its findings could be summarized as 'Happiness is love. When pressed for being sentimental or too general, he revisited his findings and again stated, 'the short answer is L-O-V-E.' The claimed that the '[Grant] study proves Beatles right: All You Need is Love.' Personnel [ ] According to Ian MacDonald: The Beatles • – lead and backing vocals,, • – bass, double bass, backing vocals • – lead guitar, violin, backing vocals • – drums Additional participants • – piano, orchestral arrangement, production • – conductor •, Patrick Halling, Eric Bowie, Jack Holmes – violins • Rex Morris, Don Honeywill – • – trumpet • Stanley Woods – trumpet, • Evan Watkins, Harry Spain – trombones • Jack Emblow – •,,,,,,,,,, and others – background vocals Charts and certifications [ ]. • McCartney also offered ' for consideration. • The idea to film the performance in the company of their friends and fellow artists reprised the orchestral overdubbing session for ' in February 1967, when the Beatles had hosted a -style event at EMI's Studio 1. Author cites a television performance by of their June 1967 single ', when the band were 'surrounded by a kaftan-clad crowd of beatific followers', as a precedent. • Starr recalls that his outfit was designed by the Fool especially for the event. It included a yellow sequin jacket with a fur collar and edging, and rings of beads around his neck; he says that together 'it weighed a ton.' • Among a number of placards featuring the word 'love' translated into a variety of languages, a sign was held up during the clip with the words 'Come Back Milly'. This was a plea to an aunt of McCartney's who was in Australia visiting her son and grandchildren. • When considering the island commune scheme, Lennon was similarly oblivious to the political upheaval in Greece, three months after the country had become a fascist state. At the time, he told the Beatles' official biographer,: 'I'm not worried about the political situation in Greece, as long as it doesn't affect us. I don't care if the government is all fascist or communist.' References [ ]. • Unterberger, Richie... Retrieved 20 August 2011. • Davies, Hunter (1996). •, pp. 223–24. •, pp. 111, 116. •, pp. 40–41, 66. •, pp. 124–25. •, pp. 260, 262. •, pp. 10–11. •, show 46, track 2. • Pollack, Alan W. Retrieved 8 October 2014. • ^ (28 August 2014)... Retrieved 27 December 2015. • Badman, Keith. 'Universal Love'. •, pp. 87–89. •, pp. 76, 82. •, pp. 88–89. •, pp. 256–57. •, pp. 270–71. •, pp. 147–48. •, pp. 125–26. • Rowe, Matt (18 September 2015).. The Morton Report. Retrieved 9 January 2016. Retrieved 11 March 2017. Retrieved 22 June 2012. • Frontani, Michael R. (8 February 2014)... Archived from on 19 March 2017. Retrieved 12 December 2017. • ^ Hunt, Chris. 'Fantasy Island'. •, pp. 273–74. • Hampson, Sam (12 January 2014)... Retrieved 18 March 2017. • Rolling Stone staff (7 April 2011)... Retrieved 13 March 2017. • Alexander, Phil; et al. 'The 101 Greatest Beatles Songs'.. •, pp. 86, 99. •, pp. 34, 216. •, pp. 39–40. •, pp. 40–41. •, pp. 97–98. •, pp. 37–38. • ^, pp. 226–27. •, pp. 233–34. •, pp. 305–06. •, pp. 261–62. • Stossel, Scott (May 2013).. The Atlantic. From the original on 25 June 2017. Retrieved 25 June 2017. • ^ CBC News Staff (31 July 2009)... From the original on 25 June 2017. Retrieved 25 June 2017. • Worldcharts.co.uk.. Archived from on 31 July 2013. Retrieved 5 July 2013. • ' (in German).. • ' (in Dutch).. Retrieved 5 July 2013. Archived from on 3 June 2009. Retrieved 5 July 2013. Only results when searching 'All you need is love' •. HitParadeItalia (it). Retrieved 5 July 2013. All you need is love – The Beatles [#10] • ' (in Dutch).. • ' (in Dutch).. Official Charts Company. Retrieved 5 July 2013. Retrieved 5 July 2013. • Hoffmann, Frank (1983). The Cash Box Singles Charts, 1950–1981. Metuchen, NJ & London: The Scarecrow Press, Inc. Archived from on 12 August 2016. Retrieved 18 June 2016. Retrieved 18 June 2016. Archived from on 4 March 2016. Retrieved 18 June 2016. Retrieved 14 May 2016. If necessary, click Advanced, then click Format, then select Single, then click SEARCH • Torreano, Bradley... • Ankeny, Jason (2009)... Retrieved 27 November 2009. • • Cooper, William (2009)... Retrieved 27 November 2009. Retrieved 27 November 2009. Retrieved 27 November 2009. • Phares, Heather (2009)... Retrieved 27 November 2009. • 12 March 2012 at the. • (in Japanese). • The Beatles (2000). The Beatles Anthology. San Francisco, CA: Chronicle Books.. • Castleman, Harry; Podrazik, Walter J. All Together Now: The First Complete Beatles Discography 1961–1975. New York, NY: Ballantine Books.. • Doggett, Peter (2007). There's a Riot Going On: Revolutionaries, Rock Stars, and the Rise and Fall of '60s Counter-Culture. Edinburgh, UK: Canongate.. • Dowlding, William J. New York, NY: Simon & Schuster. • Everett, Walter (1999). The Beatles as Musicians: Revolver Through the Anthology. New York, NY: Oxford University Press.. • Frontani, Michael R. The Beatles: Image and the Media. Jackson, MS: University Press of Mississippi.. • Gould, Jonathan (2007). Can't Buy Me Love: The Beatles, Britain and America. London: Piatkus.. • Greene, Doyle (2016). Rock, Counterculture and the Avant-Garde, 1966–1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era. Jefferson, NC: McFarland.. • Harris, John (March 2007). 'The Day the World Turned Day-glo!' • Henke, James (2003). Lennon Legend: An Illustrated Life of John Lennon. San Francisco, CA: Chronicle Books.. • Hertsgaard, Mark (1996). A Day in the Life: The Music and Artistry of the Beatles. London: Pan Books.. • Inglis, Ian (2010). The Words and Music of George Harrison. Santa Barbara, CA: Praeger.. • Lewisohn, Mark (2005) [1988]. The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970. London: Bounty Books.. • MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (2nd rev. Chicago, IL: Chicago Review Press.. • Miles, Barry (2001). The Beatles Diary Volume 1: The Beatles Years. London: Omnibus Press.. •: 1000 Days That Shook the World (The Psychedelic Beatles – April 1, 1965 to December 26, 1967). London: Emap. • Norman, Philip (1996) [1981]. Shout!: The Beatles in Their Generation. New York, NY: Fireside.. • Pedler, Dominic (2003). The Songwriting Secrets of the Beatles. London: Omnibus Press.. • Riley, Tim (2002) [1988]. Tell Me Why: A Beatles Commentary. Cambridge, MA: Da Capo Press.. • Schaffner, Nicholas (1978). The Beatles Forever. New York, NY: McGraw-Hill.. A Hard Day's Write: The Stories Behind Every Beatles Song (3rd ed.). • Unterberger, Richie (2006). The Unreleased Beatles: Music & Film. San Francisco, CA: Backbeat Books.. • Wiener, Jon (1991). Come Together: John Lennon in His Time. Urbana, IL: University of Illinois Press.. • Womack, Kenneth (2007). Long and Winding Roads: The Evolving Artistry of the Beatles. New York, NY: Continuum.. • Womack, Kenneth (2014). The Beatles Encyclopedia: Everything Fab Four. Santa Barbara, CA: ABC-CLIO.. External links [ ] Wikiquote has quotations related to: • at • Preceded by ' by 19 July 1967 (three weeks) Succeeded by ' by Preceded by ' by 19 August 1967 (one week) Succeeded by ' by Preceded by ' by 22 July 1967 (one week) Succeeded by 'Adios Amor'. CLEVELAND, Ohio -- During the Cleveland Cavaliers' Game 5 win, one that kept their title hopes alive, the Big Three combined for 84 points, the highest yet this postseason. That doesn't paint the entire picture. Kyrie Irving and LeBron James scored 82, while Kevin Love, the oft-criticized third wheel, had just two. 'We definitely need him. He's too big of a piece to our puzzle,' LeBron James said Wednesday following the Cavaliers' practice at Quicken Loans Arena. 'We definitely need Kev to play better. We want him to play better, but we don't want to add no more stress on him or added pressure. We just want him to go out and play, just let it hang out.' When Love re-signed in Cleveland last summer, he knew sacrifice would be necessary. His chances of making All-Star teams and putting up gaudy stats were a thing of the past. It was about finding other ways to make an impact, even if asked to do things outside of his comfort zone. Going into Game 5 of The Finals, as the Cavs needed a win to send the series back to Cleveland, head coach Tyronn Lue demanded aggressiveness from Kyrie Irving and LeBron James. Lue even put the ball in James' hands more, asking him to pick apart the Warriors' suddenly discombobulated defense. The plan worked. The Cavs left Oracle Arena with a 15-point win. But as was the case following Cleveland's Game 3 win, a game Love missed because of a concussion, the final piece of the triumvirate's importance became a talking point. 'I think with everything that he gave us, I mean, he helped us win,' James said in response. 'We needed everybody, all 15 guys. Even the guys that never even touched the floor. We had two guys in suits. We needed everybody's contribution.' During Monday's win, Love -- like many of his teammates -- took a back seat to James and Irving. While the duo was silencing the crowd and filling the city of Cleveland with renewed hope, Love became a witness to a historic evening. 'It just felt like it was one of those nights where you just kind of roll out the ball for them and get out of the way,' Love said. 'They were spectacular all night, both scoring 41. Kyrie shooting above 70 percent, LeBron really filled up the stat sheet in every way. So it was great to be a part of, and you had to find different ways to affect the game that might not show up on the stat sheet.' Love felt the best approach involved James and Irving carrying the scoring load, especially as the Warriors were playing without two of their best rim protectors, Andrew Bogut (knee) and Draymond Green (suspension). 'When Bogut went down, I think our primary option was for those guys to play downhill and attack the paint and the rim,' Love said. 'So for me, yeah, it was just kind of -- I know it's funny to say, but run in the corner, let those guys do their thing, and on the defensive end try to apply myself as much as I could.' Love's floor spacing has always been a coveted trait. It showed during the sweep against Atlanta and the final two games to close out the Eastern Conference Finals against the Toronto Raptors. He had made 41 triples in the postseason entering the Finals. Defense, on the other hand, has never been his calling card. It's usually an adventure, especially when the opponent involves him in pick-and-roll action. He held his own in Game 5. That's why, despite a lackluster box score -- two points on 1-of-5 shooting, including 0-of-3 from 3-point range to go with three rebounds, one assist, one block and two turnovers in 33 minutes -- he still received kudos. 'Kevin was great,' Lue said. 'I mean, defensively he did a lot of good things. Offensively we have two guys that did something that hasn't been done in NBA history: Two guys score 40 points in a single game. So there wasn't a lot of room or a lot of shots for a lot of other guys because they had a special moment. 'So it's hard enough to win a game in a regular season and then to win a game in the NBA Finals and guys are focused on Kevin not scoring the basketball. He did a lot of great things. Our rebounding was down because he's on the perimeter. He's guarding perimeter guys. They play five smalls, so he's not going to be able to rebound the ball as well as if he's playing inside against a bigger guy.' There's truth to Lue's words. Love helped create driving lanes for Irving and James and Love's reputation as a low-post scorer and 3-point bomber forced Andre Iguodala, normally a James irritant, to match up with Love at times while the Warriors were trying to go small. There's value there, which can be shown in his plus-18, if you choose to put stock into that stat. The recent win puts the Cavs two away from an NBA title, but the odds of Cleveland's duo -- Irving and James -- having an encore in Game 6 are slim. Green, the Defensive Player of the Year runner-up, is back for the Warriors. That means the best approach on offense will be a team-oriented one, perhaps making Love more of a focal point on the offensive end. 'Just need him to be aggressive,' James said. 'You know, from the defensive side of the floor and the offensive side of the floor, go out and make an impact on the game, no matter if he's not scoring, no matter if at times he feels like he's not getting touches. We all just need to continue to be aggressive. He needs to be aggressive to help us try to send this game back to Golden State. I think he's looking forward to the challenge. I think he's looking forward to the moment.' For the second straight year, the Warriors have a chance to clinch the NBA title in Cleveland. Love wasn't in uniform for the Warriors' coronation last June. He will be this time, even if it hasn't always looked like it during this series. Love is averaging 7.0 points on 37.1 percent from the field, including 28.6 percent from beyond the arc in four games. His numbers have been trimmed significantly since the regular season. But Thursday could be his moment, a chance to silence the critics and end the constant chatter about breaking up the Cavs' Big Three. Without Bogut, the Warriors could downsize from the jump, playing Green at center, where he has had plenty of success. The Cavs have experimented with their own shrunken lineup, and Love's post-up prowess and ability to take advantage of mismatches will become important. He may need to be more than a decoy. 'Every game is different,' Love said. 'I think every game in the entire playoffs has been different. But they're a team that will probably play a lot of small ball. You'll see Draymond at the five, we're thinking, and (Festus) Ezeli will come in and they'll have a lot of different players sub in and out of their lineup. But we know that the crowd is going to be on our side and we're going to have to play really, really good basketball and play better than we did last game.' That includes Love, who has been an afterthought in his first Finals appearance.
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