Da Capo

This album sounds the way wet socks feel.

I listened and now I can die

The coolest things about this album might be Neanderthal Han solo on the cover. This shit sucks.

Somehow this reminds me of what The Doors would have sounded like without Ray Manzerak and not as into drugs.

My Rating: 4.6/5 Psychedelic Breadcrumbs This album is like: • The sound of falling in love with someone you just met at a poetry reading in Laurel Canyon • Being serenaded by a garage band possessed by the ghost of Bach • Accidentally joining a cult… but like, a well-dressed cult with harpsichord solos

This band is listed as "psychedelic rock" which ... isn't wrong, exactly. But it's also not entirely right. At times, it feels very Stones and at times, it feels like early punk but with more skill. It was like the best of psychedelia and the best of punk and it was really enjoyable... mostly. I loved it up until the last track which got very self-indulgent and then the vocalist just sorta started screaming... not the best experience and it did kill what was going to be a 5 star review. Still a good album, though.

This is so inoffensively average and lacking in anything interesting. I ran straight to the book to see why it was put in there. Even the reviewer said that it was a second rate band and the final track was indulgent. SO DON'T PUT THE ALBUM IN THE BOOK, IDIOTS. Disqualified as meritless, 1 star.

Can not fathom why this record is considered for this list. Nothing stood out and then the never ending final song sunk whatever meager positive feelings and goodwill the record had managed to generate.

Wow this is quite an album… I loved the 60s feel, then at the end “Revelation” goes totally wild… 19 minutes of groovy goodness! I love that this project is serving up some really amazing 60s music that I have never heard of before.

Required a couple of listens but this was an excellent record that seems heaps far ahead of its time. Orange Skies is such a beautiful tune and easily my highlight, sounds like it could've been released yesterday. Revelation is a big old journey which I especially loved the last 8 minutes of, closing out a track with a drum solo is prime time.

At once frightfully earnest and obtusely satirical, they aim for bonkers and hit their target right in the ghoulies. The quiddling lyrics, frenetic drumming, and puckish pipe-blowing play their part, but it wouldn't be anywhere near as successful--or listenable--if they weren't incorrigible melodists. That means there's always a firm point from which to depart from on one of their zigzags. They find the temptation to return irresistible, too, even if the melody has changed after they've returned from outer space. Also: One more for the small pile of albums where the stupidly long closer is rather good.

This is such a weird, wild album that feels very forward thinking. Not fitting into any neat mold, I'm hearing a lot of influences for later baroque indie rock and proto prog. I imagine people hearing this for the first time in 66 weren't quite sure what to make of it.

El reverso barroco del Forever Changes, igualmente psicodélico, con toques jazz, sobre todo en la Jam final de 18 minutos, Revelation. Fantástico.

Solid late 60’s psych/garage. Definitely of its time. Fans of The Velvet Underground and Can will probably find something to like here, especially of the more garage-y tracks like ‘Seven and Seven Is’ and the side long ‘Revelation’.

Hey, that was quite cool. Reminded me of #24, The Electric Prunes' 1967 debut with its hodgepodge of 60ies contemporary music styles - except: I reviewed that one with 1 star. And had felt, since then, that I have been too harsh with it, but now I feel vindicated. "Da Capo" is how you do that. Quirky, fun, feels and sounds inspired, innovative and with its own identity... it's good. Love the sax part of "Revelation". This might be a 5 tomorrow.

Good vibes, too uneducated to speak much to the genre fusion stuff but had a good time - weirdly got a big soft spot for ending on a massive drum solo that only comes through your left ear

As I lay here listening to Da Capo, I wonder why this uncomplicated poppy 60s fayre has been included on the list. At which point Seven and Seven Is starts being a pre-punk, pre-surf punk delight that genuinely surprises me by being from 1966. We then go straight back to uncomplicated 60s pop fayre that - wait a minute - is actually complicated quite a lot by an awesome bassline and some tempo variations that I proper was not expecting. Thumbs up.

Short songs but with a lot of quality except for the last song which is long and at some point it could boring, however in general it's an album that I enjoyed a lot, relaxing but with a lot of energy.

Love is great, though I’ve never heard this particular record before. “Stephanie Knows Who” is a whirlwind of several music styles and approaches. Folk, Baroque, proto-funk, proto-punk, garage rock. Arthur Lee’s energy is infectious. “Orange Skies” has a nice classic 60’s vibe as it starts, reminding me of Peggy Lee and other 60’s loungey jazz-inflected pop. Though the songs on this album evoke other musical styles, the result is something especially unique and unparalleled in style and vibe. “Que Vida” is especially lyric-forward, introducing a collection of questions with the exception of the last verse which ends in an assertion about death. We move from loungey 60’s pop to garage roc/proto-punk on 7 and 7 is! So 7 and 7 is certainly 14, though I’m not sure what else the title could be referring to based on the lyrics. Lee is known for expressing societal and philosophical truths in his lyrics, though this one is especially hidden. From what I’ve heard thus far, “The Castle” is my favorite of this record. The acoustic guitar riff is lovely, the lyrics are engaging, and the harpsichord is a fun witty harkening back to times in which there were castles. Again, “She Comes in Colors” has great lyrics and a unique yet accessible melody. Lastly, we have “Revelation” which is 18 minutes long! All in all, this is a record that I’d love to return to and listen closely to the lyrics, as Lee is very much a wordsmith.

It would be easy to that this album does psychedelic folk rock by the numbers, but that fact is that Arthur Lee and Love wrote the rules then broke them as many times as they could. How does an album so syrupy on one level exhude such punk as f**k energy?

Gran disco con una Cara B completamente fuera de si. Tiene un poco de psicodelia, jazz, folk, garaje... I like it.

Love the folk and psychedelia mix

This band is sweet, kind of proto-punk, while staying within that 60s garage rock vibe. The sound seems ahead of its time for sure, and they wrote a lot of songs that survived into relevancy after all these years.

Although I like a song dedicated to my name, I don’t understand why this album is here. It was not pleasant to listen to

It was all going okish until someone thought an 18 minute unstructured mess of a track was a good idea. It wan't.

Wow this album flew by! *sees "Revelation* Oh. Still though, this album is a fucking banger. 7 perfect songs, all a different genre and all ahead of its time. How the fuck are these guys not hailed as one of the greatest of all time? I only heard of them because of this book. They should just be known from the get go like The Beatles or The Rolling Stones

I've been listening to this since the mid 90's and I think it's outstanding. Revelation has to be one of the first songs that takes up an entire album side and it's probably my favorite track. Love's first 3 albums are classic.

Cuando hablamos de Love siempre pensamos en uno de los mejores discos de la historia: Forever Changes (ignorado por completo en su momento). En Arthur Lee, etc, etc. Pero tienen más discos, y entre ellos este que casi está a la altura del mito. Stephanie Knows Who es un clásico garajero, excelente (con un clavicordio que dio sus problemas). Orange Skies es uno de mis temas favoritos, no ya del disco, sino de su carrera y en general. Es una maravilla, escrita por Bryan MacLean (que hizo los mejores temas de Forever Changes) cuando este trabajaba como técnico de The Byrds y está inspirada en el tema «The bells of Rhymey». La otra es The castle, que anticipa y de qué manera a Forever Changes. Claro que otra gema es She comes in colors, algo que los Stones de She´s a rainbow conocen perfectamente. ¡Qué vida! con ritmo casi de Bossa-nova (pop barroco que dicen) y una melodía basada en la canción «Lifetime of loneliness», de Burt Bacarach y Hal David y efectos de la discográfica Elektra (la de los Doors). Seven and seven is, un tema de amor, con enorme fuerza, ya incluido en su anterior disco de debut. El problema de Da Capo viene con la cara B, solo un tema : Revelation», que toma como punto de partida la composición «John Lee Hooker. Una jam sessión para toda una cara, que no termina de encajar con el resto del disco. Una lástima, bien por falta de tiempo, bien por otras razones, Da capo se quedó en medio disco excepcional y como paso previo a la obra magna. Recomiendo esta reseña: https://elbarcodecristal.wordpress.com/2013/12/18/da-capo-love-descubre-su-estilo/

Well this was unexpected. I am more impressed by the fact that this album came out in 1966 than by the sound itself, but I am willing to admit to be glad to have heard this before I died

The hat trick is complete, this makes three psych or psych-adjacent albums in a row, and damn me to hell, I liked all of them, spoiler alert for this review I guess. The main impression I get from Love, a band I hadn't really heard of before this, is that they *must* be (secretly) wildly important in the grand scheme of rock music. This album just has that feeling, this is some very ahead of its time early psych. The psych pop songs here are about a year ahead of their time, with Orange Skies, Que Vida!, and She Comes In colors (coming, themselves from '66) sounding straight out of the summer of love. These songs are colorful and breezy and pleasant, but they aren't the most interesting part of this album to me. That would be the more rock cuts, Stephanie Knows Who, The Castle, and *especially* Seven and Seven Is. These songs all highlight extremely forward thinking rock songwriting and aesthetics, and tie it all together with intense performances, especially Arthur Lee, who absolutely *rips* into these songs with his vocal approach. This is all best exemplified on Seven and Seven Is, an absolute proto-punk barn burner. The bottomless well of covers of this song (by artists such as Alice Cooper, Rush, Robert Plant, Deep Purple and more) go to show how much impact this song had on the development of rock music as it leaped into the '70s. Now, this is all well and good, but these songs are all on the first side of the album, the second is one song, Revelation, an 18 minute monster of a psychedelic jam epic. When half of your album's runtime is a single song, that song better be *good* and Revelation delivers. Lee's vocal approach slowly cranks itself to eleven between an onslaught of creative and compelling solos from the entire band. I don't have much else to say, its really that simple, and its awesome, never before has 18 minutes passed this quickly. This album is a lot better than I expected, I can't tell if I just like psych, or if I'm just getting really lucky.

I will give them credit because by the time you finish listening to the 19 minutes of Revelation, you have forgotten how bad the first 7 songs were. 3 stars or C-.

As a big fan of the hippie, counter culture, psychedelic movement I was excited for a band that I am less than familiar. Unfortunately, instead of Grateful Dead, Janis Joplin, and quick silver messenger, I feel I got Charles Manson. I know this album was towards the beginning of the movement, but if released today I would think it was by some poser trying to score young, easily manipulated groupies. Songs and music were fine with some good moments, but also a lot of “just ok” and many similar sounds. I would give a mid to high 2’s. It’s a shame that when looking at art we as a society are now having to look at it through a social justice and inclusive lens. Wikipedia states that this was at the forefront of racial diverse bands during this movement. I cannot help but think this helped critics decide this belongs on this list. Musically I think it doesn’t. I am looking forward listening to “forever changes” which I assume is on this list based on what I have read about the band Love and their legacy.

Oh i was digging this for a while. But that last track lost it a star. Still pretty fun 60s madhouse stuff

A man woke up one morning with a constant pounding drumming sound in his ears. All day it continues, drumming, drumming, drumming. And the next day, and the next. Drumming, drumming, drumming. Exasperated ,he goes to his doctor, who can't work out what the problem is. The doctor refers the man to a specialist. It just won't stop, the never-ending drumming in his ears. "Ah ha" says the specialist, "I've seen this before. To cure it, you just need to light a cigarette lighter, and wave it slowly from side to side in time with the drumming." The constant noise is driving then man crazy, so he decides to give it a try. So, he gets a cigarette lighter, stands up and waves is slowly above his head. And, sure enough, the drumming ceases. "Oh my god, what a relief" cries the man. And then the bass solo starts. That is exactly how I felt listening to 'Revelation'. Self-indulgent 1960s jamming. I know it was the vogue at the time, but it is the worst kind of padding. If I owned this record, I would never, never, NEVER EVER, play side 2. It is interminable wank (with a bass solo). Even the band hate it. Side 1 is somewhat better, with some pretty tunes and those ornate chamber pop arrangements so beloved by music critics. Arthur Lee's tendency to shout can be annoying, although works well in "7 and 7 Is", which is the stand-out track on the record. Most of the other songs can be a little precious. I find Dimery's obsession with psychedelia really reflective of rock snob music critics' infatuation with 'cult' 1960's albums, especially if they were not commercially successful at the time and at least one member of the band had a significant mental health issue. It reeks of hipper-than-thou, "you wouldn't have heard of them" snobbishness which gives me the screaming shits. Maybe I'd be more tolerant of this if the critical praise wasn't so over-hyped and exclusionary. Don't get me wrong, I really like 'Forever Changes', but today, I'm just not in the mood. If it was all like side 1, I might be tempted to give this a 4 star rating, but Revelation is just a horrible waste of everyone's time. So, 3 stars it is.

Before I started this 1001 albums thing, I would have told you I dug 60s psychedelia. Now I know better.

Never heard of Love; always interesting to listen to something completely new. Wow, "Stephanie Knows Who" felt like a bit of a mess really. It's hard to tell if this is experimental, or these guys are trying to figure out the rules of music while recording. "Orange Skies" was better, though there are sections where the singer attempts to hold the notes and it just doesn't work; they are sort of 'revealed' as someone who isn't a natural singer to me. Other than these small moments, it was a perfectly pleasant track. "Que Vida" felt like everything Orange Skies tried to be. This was the first track I actually quite enjoyed; I am, as it turns out, a pretty big fan of the electric organ/drums/bass sound of the 60s. "Seven and Seven is" was a pretty erratic track, but I did like it's energy and the bassline was lovely and thumpy. Bias is heavy here because of the bass. "The Castle" and "She comes in Colours" were both fine, but forgettable unfortunately. "Revelation" had me apprehensive but optimistic, considering that longer form tracks have proven to be better than first perceived, for the most part. It had some interesting ideas sprinkled throughout, but overall just flat again for me. Feels mean to say, but Love just feels like a poor imitation of everything else that was great about this decade. Not awful, but not memorable. Unsure why it's on the 1001 considering that they: A) Don't sound the most groundbreaking/ musically astounding. B) Don't do things wildly different (this is why Tom Waitz and D.O.A belong on this list, because it's far enough away from musical norms that it needs to be listened to). C) Makes a statement with it's lyrics. **************************************************************** This is the first time I, admittedly, have ever discussed 'worthiness' to belong on the 1001 album list. I think a lot of people read it as "The 1001 best albums of all time". Read it again. Even if something is considered widely 'terrible' but is interesting and unique enough to be considered a league it's own, then it deserves to be listened to. Preferably, before you die.

Is an 18 minute closer self-indulgent? Yes. Did I kinda like it anyway? Yes. Did I stop liking it so much when the vocalist started just staright-up screaming into the microphone? Yes. 2/5

This was a big no for me. I was going to give it a 2 because it wasn’t totally unlistenable but then the last track happened and I just couldn’t. 1/5

Hippy dippy claptrap

very well could be part of the spiritual stratum for king gizzard's paper mache dream balloon

I would like the record to show that I am one and a half songs in and I LOVE this album. - Update, I really LOVE this album. It was fun. It was funky! I love how it really encapsulated the best of the late sixties; a little psychedelic, a little let’s-borrow-sounds-from-around-the-world, easy enough to sing along to and very easy to just vibe out to! Into the rotation you go, De Capo!

Buena música para escuchar ida. Edit. trmendo infravalorado no entienden nada ustedes

What the hell is wrong with people rating this one so low. It's really good. Sure, it's raw, and I do have a tender spot for jamming sessions such as that last chaotic track, but I thought the Side A songs were very solid, adequate length, and the last one was so damn fun to listen to. Really good stuff.

cara a: amfetes cara b: opiacis

Hahahahaha. Wild, gek, mooi

I love Forever Changes and thats I had only heard from Love. What an amazing surprise Da Capo was.

Short but fun album

This was great! Cool 60’s rock

Overall: 10/10 I'm blown away by the fact that this album came out in the 60s. There's a lot of genre blending here, with some folk, punk, psychedelia and even some latin influences sprinkled in for good measure. The album even closes with a goliath 18 minute track, a rare occurence in the 60s. I had such a great time listening to this and I'm glad to have a new favourite. Fav Song: ¡Que Vida!

Perfect immortal classics! Masterpiece. I love it.

Loved it far more than I expected

Five BIG fucking stars!

10/10 The word “Love” doesn’t do justice to how much I adore this band

MASTERPIECE

Can we bring back flutes? The first album I heard from them on here has stayed one of my favorite new bands I have never heard of and this album continues that. Very interesting sounds coming from a band and genre that feels oversaturated with similar sounds. What I find interesting is that they take tropes that are used by other psych rock bands and either slightly change them or turn them up to 100 which creates a unique quality that I have not heard in other bands of the genre. Everything was great until we got to the 18 minute song where the singer proceeds to scream in the microphone for a solid 5 minutes, didn’t much enjoy that. 9/10

Well this was a frenzied surprise. What a fucking firecracker or psych rock. This album had the feel of a band that loved to rock out and when they weren’t rocking out they were groovin’ out and they were pretty awesome at that too. Another example of what I love about this 1001 project. Certified album I absolutely had to hear before I died. 5 stars

"Love" is quite the fitting band name for these guys! I love it! The vibes are awesome!!!

5 stars eh? I guess you could say I LOVE this album! *Slaps knee, laughs alone in awkward silence, removes himself from the room*

The best album that came out from Los Angeles in 1966. It's a groundbreaking and forward thinking album, which influenced many bands and artist afterwards . It was released a year before The Doors' debut on the same label (Elektra) and the similarities are there. The songwriting is excellent not by only Arthur Lee but also Bryan MacLean, the instruments are varied and interesting. I also love the jam on the B-side, not many albums end with a drum solo! It's as great as Forever Changes from 1967, which means it is among the best albums in the 60s.

The perfect album.. Masterpiece

it felt like this album was going by really quick and then BOOM. 19 minute song. i rest my case. 10/10

a Roxanne album. its insane i havent heard this before. immaculate. last song they were having fun that’s for sure.

totally revelatory man...one of the nastier results of a perusal of the Canon is that while some bands are inevitably over-represented others are reduced to a single significant album, cut off from its evolution and context and often implying a narrative of "most of their music kinda sounds like this but this is where they did it the best." i rly like forever changes and ig was unconsciously expecting something in that mold, but i was totally wrong to do so...arthur lee flexes his songwriting and creativity muscles in directions i didnt even know he was capable of based on that one album, creating a diverse and ornate hippie fantasyland that still Has Things To Say. honestly he might deserve the cred that ended up going to jim morrision...such a magnetic presence, and here he is in full gonzo exploration mode that only enhances my appreciation for forever changes' tender apocalypse. so mind-expanding!

I don't understand. Elements of this record sound as though they could have been recorded last year. Others clearly place it in the 60s. The musical ideas must have been unheard of at the time.

This album is much better than I expected. I will probably listen again!

Can I give a perfect score to an album where the first 6 songs, 18 minutes are more or less perfection, followed by one 19 minute track that's basically a mess? Albeit one with several enjoyable sections. Probably not. Or can I? Fuck it, yes I can.

Fun rock album with a bit of soul/jazz infused - highly enjoyed!

Loads of sounds recognised in this one.

cool

Vaikkakin jotkut kohdat raivostuttavat, mieli tyyntyy tämän teoksen mahdottomassa, siinä mitä ei voi käsittää. Muutama corny kappale ja pidempi soitto, muutamat hassut lyriikat. Kokonaisuus on tuo mahdoton, joka muodostuu ennaltamäärittäen ja jonka katse on meiltä ihmisiltä piilossa, kunnes se nousee tajuntaamme albumin loputtua. Bravo. Bravo. Jokainen objektivisti nousee seisomaan ja taputtaa, riemuitsee tätä mestausta jonka global reviews avg. kuin entiteettinä suuren yleisön silmien edessä yrittää suorittaa. Mestaus suoritetaan ja subjektivistit kalpenevat. Maa tärisee syvimmät pelot puskevat ihon läpi hikipisaroiksi imisten, tallaajien ohimoille. Näytös loppuu ja fanfaarit soittavat. He kuulevat, he näkevät. He eivät iloitse kun suomeksi julistuu viiden tähden arvio. Mutta heidän on kestettävä se.

The Doors meet James Brown and Jethro Tull, where Love before the Doors? Loved this album.

A LOVEly album - short and sweet - while to me it’s not as special as the band’s Forever Changes, its length makes it as good - as it’s a nice bite sized group of songs - and this record has ‘7 and 7 is’ - so - LOVE it.

Look. This album is sick as fuck. Proto Punk and Ska and Pop Punk by way of Donovan and The Doors. I wish I'd got to see this live and on a variety of drugs.

This was all over the place in the best way. Pulling from jazz, blues, rock (and maybe creating punk in the process?) Love created a rich fusion here. I’ve never heard this album before and was really impressed. I get why they were not more popular but I have to assume they were pretty influential. Half of the album being one song is a wild choice too, but one they pulled off.

Listened Before? No Album Art: 5 / 5 (at this point I have no idea why I'm rating this, but I love this cover. Faux art frame around a team photo at some ruins-like location. Dig the font choice.) Opens with some strong reminiscence to Barrett era Pink Floyd. Psychedelic layering of components making for a madhouse sort of atmosphere. Sick sax and harpsichord work. Singer took his meds for Orange Skies. Pretty little folksy number complete with flute melody. Could imagine dropping acid and running through a field of wheat to this. Love the little "pop" sound in Que Vida! Seven and Seven Is almost sounds like it could be a Bowie song both in eccentricity and tone; jam. Composition of The Castle evokes Tommy-esq The Who, but like in the good way. Bass line and tempo switching is pretty dope. She Comes in Colors brings back the fire. And Revelation just seems like they included it to leave no stone unturned with a blues rock number to rival The Doors. Wow this album rocks. Love show some incredible range effortlessly maneuvering from psychedelic and folk rock to blues and something proto-punk/glam. I was engaged start to finish and enjoyed every minute. This is a sneaky ass 5 / 5 from me. Added to Library? Yes Songs Added to Playlists: - Orange Skies (Sunny-vibes) - She Comes in Colors (Sunny-vibes)

From first track the horns are great and this is great piece of psychedelic rock. The guitars go hard and the vocalist is very passionate. Ooh Flutes too, are we Jethro Tull??? This is fantastic. The ORGAN, Let's goooooooooo!!!!!!!!! This is the most shocking 5 star album I've given but this was one of the easiest.

Adorable! Fun :)

I’ve listen to Forever Changes a bit in the past but this is also a great album. Deserves some repeat listens.

Enjoyed this. Short, sharp songs on side-A, a psych freakout on side B. Who could ask for more?

Love still equates to my feeling about this group.

Wtf så bra!! Aldri vært borti før

Great stuff, beautiful, chaotic and full of charm

amazing

Amazing, can't believe I haven't heard of Love before.

Lush instrumentation with some brilliantly written songs. However, quite a few of the deeper cuts fell flat for me.

Listened to this so much at the turn of the century.

Понравилось

мені дуже сподобалось! так, дивний останній трек на 18 хвилин, але нічого, то вайб XD

Monty Python if it was an album and took place in the 60s. Some vibey instrumental and smelt a whiff of ranchera style improvisation throughout most pieces

Early psychedelic . Low 4

I continue to be surprised that Love are not a British band given everything about their sound. Da Capo is a particularly elaborate and free, almost crazy sounding album. The vocals are gloriously theatrical without sounding gimmicky. The band are injected with the perfect amount of psychedelia. The semi-improvisational Side B or ‘Revelation’ puts them into a different mode. Initially it’s a bit like The Velvet Underground but it travels through several sounds across its extended run time. The bass playing gets a bit stiff at points trying to hold things down but the rest of the band get a chance to be very freaky, spinning off into The Doors, Suicide or early Fall-like performances. It’s not quite as accomplished as the album that follows but it gains a different dimension as a result and is a must listen for anyone interested in the impacts of the British Invasion or 1960s psych rock.

Low to solid 4 for me, Love are great! I actually especially enjoyed the final track

Álbum curto que me divertiu muito mais que vários outros álbuns. Rockzinho divertido. Me fez balançar a cabeça pensando "po, da hora".

picked up quickly last song is crazy though

Nevöhööd mulle tää bändi. Mut hyvä oli levy. Huikee toi vika raita ja She Comes in Colors kans. Ja muutenki et kaikki muut on jotain 2-3 min juttuja ja viimeinen raita on sen kakskyt minsaa. :D

Solid garagey psychedelic rock somewhat marred by an overly long jam to close out the album.

This was all over the place...but I didn't hate it! Not every track worked for me, and I would've thought a 19-minute jam-band closer would've tanked my impression of the album, but it kinda worked. I'm fairly shocked that I find myself glad to have listened to this once even though I'll never spin it up again. 3.5

I liked this a lot. Reminded me a lot of The Doors. The last track lost me a bit otherwise it would have been a solid 5 stars.

groovy as HEEELLL

excellent a side… revelation is uh… it’s okay! it’s got some great parts but it’s a bit bloated and sloppy