83. Love - Da Capo

Artist: Love
Album: Da Capo
Year: 1967

History has been kind to Love. Never really that popular in their heyday (at least not with the general populace), they are known rather well-known for their third album Forever Changes, which routinely shows up on "best album of all-time" lists. I'll talk about that one when the time comes--it's an album that treads close to desert-island status for me. For now, time to discuss Da Capo, its precursor.

Love was led by Arthur Lee, one of the best, most creative songwriters to come out of American pop music, and unfortunately, not one of the best known. Da Capo is a nice showcase for his writing and his showmanship. It was also one of the finest examples of a Baroque-pop album, a style that emerged around this time emphasizing a distinct classical influence.

The album starts with the manic stop-start "Stephanie Knows Who," which sounds like some kind of crazed circus music. It's an awesome song, rich in sonic detail. "Orange Skies" and "Que Vida" follow, as more subdued tunes with nice melodies. "Orange Skies" is notable for its Latin feel.

These songs are no preparation for the juggernaut that is "Seven and Seven Is" which for all intents and purposes is a blistering two minute punk song. This is one of the best long-forgotten songs of the 1960's. Where the heck did this song come from, amidst these little acoustic Baroque pop tunes?

"The Castle" follows with surreal lyrics (as the band would explore further on their next album) and a great acoustic guitar melody. It's another highlight on this album. "She Comes in Colors" brings back the vaguely Latin feel, incorporating flute and Baroque harpsichord. And thus ends the first half of the album.

The second half is taken up by the 19-minute extended jam "Revelations," which I have always found to be sort of aimless and boring. Most times I listen to this album, I'll admit that I skip "Revelations."

So, this is half of a classic album. Each of the first six songs is memorable in some way: it's worth listening to this album solely for the "Stephanie Knows Who" and "Seven and Seven Is," both of which rate in my opinion as great hard-rocking songs of the era. They would get folkier on their next album, but it's nice to know that Love had the muscle to shred with the big boys.

Rating: Worth repeated listens