EXPERIENCE ROCK HISTORY!
LOVE – DA CAPO – November 1966
Here’s a perfect example of the totally groovy vibe of 1966 and of Elektra Records’ insightful good fortune to sign two of the most unique bands to emerge as leaders of the whole L.A. Hippie Counter Culture, the Doors and Love.
In 1966, Love followed their self-titled debut with “Da Capo”, the second of one of the best three consecutive album releases by any band and a definite natural progression and bridge to their third album, the historic and classic genre-mix masterpiece, “Forever Changes”.
Named after the “Castle” the band resided in, da capo was an extremely important and symbiotic album for 00individual’s “formative years” that was played an obscene amount of times.
Love, the band and love child of leader Arthur Lee, was a Sunset Strip staple and truly the premier psychedelic folk-rock hippie band of L.A. with an original sound and original material that set them apart from all others.
Arthur Lee was an amazing artist, innovator, multi-instrumentalist, composer, singer, songwriter and Counter Culture Hero. Here was a man who could write and sing beautiful songs like “She Comes In Colors” and ¡Qué vida! and perform decimating Rock like “7 and 7 Is”. He was the first to put together a racially-mixed band and was a true proponent of the Counter Culture.
Some view Sky Saxon and the Seeds as first on the scene but they were actually the seminal influence for the Psychedelic “Flower Power” Proto-Punk Garage Band sound that still exists today . . . and the Byrds, while historically-noted as the first electric folk-rockers, peaked essentially as a Dylan coverband with thirteen Dylan covers officially released between 1965 and 1970.
So that leaves us with Arthur Lee, he was the Man!!
00individual was fifteen when all of the goodness of 1966 was happening and was totally diggin’ all of the Pop-Rockers of that year. The psychedelic sound was emerging everywhere as the music expanded out of the initial British Invasion of the Liverpool and Merseybeat genre into the harder British Blues Power Pop and then into full drug-influenced Psychedelic Rock sounds just around the corner with the Summer of Love.
While too young for a car/license and with little income, hitch-hiking to Hollywood and back was unreliable so 00individual missed out on the classic days of Love on the Strip – BUT – made up for it with one of the best concerts ever experienced – Arthur Lee with Love at the Knitting Factory in 2004 – an exhilarating intimate performance that, due to a life-long loving relationship with the first Love albums, literally brought tears of joy.
All tracks composed by Arthur Lee, except where indicated.
“Stephanie Knows Who” – 2:33
“Orange Skies” (Bryan MacLean) – 2:49
“¡Que Vida!” – 3:37
“7 and 7 Is” – 2:15
“The Castle” – 3:00
“She Comes in Colors” – 2:43
“Revelation” (Lee, MacLean, Echols, Forssi) – 18:57
Note: The harpsichord intro is Giga from the Partita No. 1 BWV 825 by J. S. Bach.
While many have issues with side two’s “Revelation” it was the sign of the times; 1966 was the year of breaking the 6 minute song mark like Dylan’s “Like A Rolling Stone” did for the 3 to 5 minute songs a year earlier.
The Stones’ great “Goin’ Home” from “Aftermath” released June ’66 was 11 minutes 13 seconds long, the Seeds’ “Up In Her Room” from “A Web Of Sound” released October ’66 was 14 minutes 27 seconds and Love’s “Revelation” clocked-in at 18 minutes and 57 seconds. This album side track was an attempt to recreate the best of their unique live jam performances and while more creative than the Stones’ or the Seeds’ extended tracks, it apparently didn’t impress most listeners.
However, if truth be known, while on tour in L.A. in ’65 Mick and the boys caught a Love gig where a version of “Revelation” was performed and were so impressed and inspired that they released their “long track”, when in fact Love were into that scene long before the Stones, Seeds or anyone else.
For the record, Dylan’s “Sad-Eyed Lady of the Lowlands” at 11 minutes 23 seconds from “Blonde On Blonde” was yet another of the long tracks of ’66 released in June, but was clearly a folk song and not in the Blues Rock vein of the others.
Arthur Lee – lead vocals, harmonica, guitar, drums, percussion
Johnny Echols – lead guitar, Bryan MacLean – rhythm guitar, vocal Ken Forssi – bass,
Alban “Snoopy” Pfisterer – organ, harpsichord
Michael Stuart – drums, percussion Tjay Cantrelli – saxophone, flute, percussion
(On “7 and 7 Is”, either Alban “Snoopy” Pfisterer or Arthur Lee plays drums. Michael Stuart and Tjay Cantrelli do not appear.)
Dave Hassinger – engineer, Bruce Botnick – engineer
Another historic and classic element of
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