Da Capo

Love - Da Capo

Da Capo
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Category: Music CD
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CD Details

Artist: Love
Brand: LOVE
Edition: Music CD
Format: Extra tracks, Import, Original recording remastered
CD Release Date: 2002-06-03
Music Label: Rhino/Wea UK
Soundtracks:
  1. Stephanie Knows Who (Mono Mix)
  2. Orange Skies (Mono Mix)
  3. Que Vida (Mono Mix)
  4. Seven And Seven Is (Mono Mix)
  5. The Castle (Mono Mix)
  6. She Comes In Colors (Mono Mix)
  7. Revelation (Mono Mix)
  8. Stephanie Knows Who (Stereo Mix)
  9. Orange Skies (Streo Mix)
  10. Que Vida (Stereo Mix)
  11. Seven And Seven Is (Stereo Mix)
  12. The Castle (Stereo Mix)
  13. She Comes In Colors (Stereo Mix)
  14. Revelation (Stereo Mix)
  15. Seven And Seven Is (Bonus Track) (Tracking Session)

Music reviews of Da Capo

Music Review: Unjustifiably Overlooked
Rating: 4 Stars

Standing in the shadow of an established genius can be a difficult thing. Even more, coming into contact with someone that expects you to measure up to or even surpass said genius can also be difficult if not daunting. While specific examples of this motif escape me right now, it has been used countless times in literature and film to produce some incredibly memorable characters and storylines. And it's justifiably so: in some ways, standing in the shadow of the established sort of dooms the reception of some works by default. (In my opinion, the most recent and glaring of this would be Neutral Milk Hotel's excellent On Avery Island.) However, sometimes it is wise to forget that the established exists to judge the music on its own merits. Other times, however, the two can be compared to reveal that the subordinate has its own eccentricities/traits that sets it completely apart for its "big cousin," if you will. I shall be going the comparative route.

De Capo's "big brother" is obviously Love's widely acclaimed magnum opus Forever Changes. It's known for utilizing grandiose Sgt. Pepperesque orchestration to accompany and ultimately illuminate Lee's tender orchestrations. However, to many modern ears that I encounter (those detached from the world of critics, I mean) it sounds "dated" or "old fashioned." This makes sense to me since while Forever Changes is a GREAT album, the session musicians sound fairly separated from the band. This is okay since it still works great for the album. However, with De Capo, we simply have two extra musicians. These musicians bring classically-trained harpsichord, jazzy saxophone and sparse/hip organ playing into the mix. As a result, the extra musicians sound more organic; they actually sound as if they are a PART of the music. As a result, the songs--at their very base--are given much more dimension and a sort of (for rock music, anyway) inexplicable charm/class.

Whether it's the harpsichord-reinforced screamer rock of "Stephanie Knows Who," the riff driven madness of "Seven & Seven Is" or the semi-baroque "The Castle," a listener quickly becomes aware that you're listen to music written by someone whose musical knowledge extends beyond doo-wop and mere psychedelics. (Though the music most certainly isn't devoid of these influences.) You hear showtunes, classical music and jazz all mixed into the cauldron and dispensed through a healthy medium of great pop music. Even with Revolution, while it may not be a piece of clever songwriting, it still gives the musicians to showcase the musical virtuosity that wouldn't readily be apparent in the songs they play. And finally, there's my personal favorite "Que Vida," which never fails to make me feel as if I'm spiraling through the star-filled heavens. (Considering the amount of drugs taken during the writing of these songs, I wouldn't be surprised if Lee were feeling the same thing.)

All in all, this is an amazingly creative psychedelic masterpiece that is frequently overlooked thanks to its successor. I really do not have to say much about the aftermath since the rest, as they say, is history.

R.I.P Arthur Lee
More Da Capo free music reviews:
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Description of Da Capo

Their second album, from November 1966, featuring the explosive "7 & 7 Is," a Top 40 hit in 1966 and an all-time garage-punk classic. Exact repro from the analog masters!
Jimi Hendrix wasn't the only black musician making inspired psychedelic rock in 1967. Memphis-born, L.A.-bred Arthur Lee combined his flair for Technicolor R&B with Bryan MacLean's talent for ornate show tunes to form a wonderfully schizophrenic combination in Love. The group's second album boasted such strange but memorable tunes as "7 and 7 Is," "Orange Skies," and "She Comes in Colors," which Lee said was quite literally about making love to a woman who had her period. The album was capped off by the epic, 19-minute upside-down and inside-out blues, "Revelation," which was produced by an uncredited Neil Young. Jim Derogatis

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