Love - Da Capo
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Free Music Notes for Da Capo
Free Music Review: It must be Love...
Hit: 5 Stars
This cd is truly a measure of how big a Love fan you are... 6 of the 7 tracks from _Da Capo_ appear on the excellent _Love Story_ anthology, so if you're buying this for "Revelation", I think the word "fanatic" can safely be applied to you (grin).Personally, I think the seven-person lineup heard here was Love's best. Side one is perhaps the best 17 minutes of music the group ever made. The arrival of Tijay Cantrelli (woodwinds) and Michael Stuart (drums) really expanded their sound and raised the level of musicianship. Nowhere is this more eveident than on "Revelation", that sprawling reminder of a bygone era. The song is too long and never really goes anywhere, but Stuart's drumming and Cantrelli's saxophone solo are definitely worth listening for (John Echolls complains loudly in the liner notes that Paul Rothschild ruined the song by moving sections of it around, but, really, it's hard to imagine it having turned out too much differently).
As always, Rhino's packaging and sound are excellent. I thought hearing the remastered stereo mix would prove them wrong for having used the mono one on _Love Story_, but... they were right, the mono does sound better (except "Revelation").
Free Music Review: Que Vida!
Hit: 5 Stars
Love are a magnificent band.
Since I purchased their anthology I have got all their CDs including the 1970s stuff they did.
Da Capo contains some of my favorite Love tracks. ¡Que Vida! has a great organ melody that is captivating.
I prefer the stereo version of this CD because there is better separation of the intricate tracks.
The guys playing on this album are 1st class and deserve a lot of credit as part of Love.
Any Love CD is great but this one is my fav at the moment.
Free Music Review: Tied with Foursail
Hit: 5 Stars
for my favorite Love album. Trippy, dippy, raging, jamming, insane, fired-up stuff--- GET IT!!!! Forever Changes is cool and all, but this one and Foursail are my idea of prime Love. [I can't believe nobody's reviewed this yet!?]...and go see Arthur Lee and the new version of Love if you can-- you will NOT be disappointed. People your father's age should not be able to blow the younger rockers off the stage, but there you have it!
Rock on!!!!!
--KB
Free Music Review: Love what a group.
Hit: 5 Stars
I find this is my favorite of all the Love albums I heard some of this music in a seventies surf movie and I never forgot it, so I bought all their cds but this is I feel the best.Free Music Review: Unjustifiably Overlooked
Hit: 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
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