 |
Da Capo (1966)Genres: rock, pop, psychedelic pop |
This is not the effort that Love is remembered for. There is nothing surprising about that, considering the almost unreal quality of their next album, but there are still enough good tracks on this one to make it an obvious purchase for those who love “Forever Changes”. At least if you can keep your expectations within reasonable bounds. Personally, I expected little more than average 60s pop from this album, but I was surprised by how heavy and progressive it is in places (for a pop/rock album released in 1966 that is). The sax player even explores some really dissonant territories (after all that is what saxophones are meant to do!). Add the rich and interesting instrumentation (flute, organ, sax, harpsichord and harmonica in addition to the usual suspects) and the well-crafted songs to the pros-column and you got a minor classic, right? Not quite I am afraid. Rock critics generally like the six shorter songs on the first half of the album, but hate “Revelation”, the side-long album closer. Before you prog nerds get any ideas let me assure you that the critics are absolutely right for this once. The second side is crap. It is basically an extended blues-rock jam where the band does something that has been done a thousand times before, and does it painfully bad. The nicest thing you can say about it is that it is not often you hear harmonica and harpsichord in the same song (to be fair it includes some nice sax work as well). What a shame on an otherwise very good album.
 |
Forever Changes (1967)Genres: rock, pop, psychedelic pop |
Forget about “Sgt. Pepper” and “Pet Sounds”; this is the definitive masterpiece of the 60s. No wonder it took Arthur Lee 35 years to recover from the labour pains. Like with most masterpieces it is hard to categorise the music on “Forever Changes”. I would say that it is slightly psychedelic and highly intelligent pop music with a dark and fascinating undertone underneath a thin layer of prettiness. You can find small fragments of other contemporary bands (such as The Doors, The Byrds and The Beatles) in Love’s sound but as a whole it is rather unique. The music is mainly driven by acoustic guitars, but electric guitar, brass and strings turn up in just the right places. Both Bryan MacLean’s and Arthur Lee’s singing are characterised by as much sadness as fragile beauty, which add to the pessimistic, almost resigned, mood of the record. Love is often labelled psychedelic, but the hazy and optimistic romanticism of the psychedelic era seem to have little in common with Love’s pessimistic, almost cynical, view of the world. “The Red Telephone” contains a part that effectively sums up Love’s bleak view: The backing vocalists go “sha-la-la-la”, but instead of the enthusiastic backing choirs so typical of the 60s they sound completely indifferent. And then the main vocalist goes; “I don’t know if I am living or if I am supposed to be”. Very typical of this strange and fascinating album. “Live and Let Live” contains another lyrical highlight; “There’s a bluebird sitting on a branch / I guess I’ll take my pistol / I’ve got it in my hand / because he’s on my land”. How is that for a comment on the soul of America? This is one of the greatest albums ever made and a triumphant evidence that it is possible to make fantastic music within the bounds of pop music. They just don’t make them like this anymore.
