Love - She Comes in Colors

 #Love #Arthur Lee #Bryan MacLean #psychedelic rock #garage rock #folk rock #acid rock #psychedelic pop #psychedelic folk #1960s

Love broadened their scope into psychedelia on their sophomore effort Da Capo, Arthur Lee's achingly melodic songwriting gifts reaching full flower. The six songs that comprised the first side of this album when it was first issued are a truly classic body of work, highlighted by the atomic blast of pre-punk rock "Seven & Seven Is" (their only hit single), the manic jazz tempos of "Stephanie Knows Who," and the enchanting "She Comes in Colors," perhaps Lee's best composition and reportedly the inspiration for the Rolling Stones' "She's a Rainbow”.  From: https://www.allmusic.com/album/da-capo-mw0000195829

Seconds into the opening track, “Stephanie Knows Who,” it’s clear that “Da Capo” represented new directions for Love and for rock. A harpsichord dances with guitar in the lovely prelude. A deep-throated sax breaks in. In the break, all of the song’s instruments collide and veer off in different directions. The resulting passage is more in tune with free jazz than psychedelic music - although this is unmistakably a hard rock song. “Da Capo” was Arthur Lee and Love’s second album, out of three made with his core group of L.A. musicians. The album was followed and overshadowed by the rock masterpiece “Forever Changes,” but the songs here are streaked with brilliance and innovation. Many musicians’ minds were blown by its collage of sounds and crazy quilt of influences, the material clearly ahead of its time. “Da Capo” is, in a sense, a more adventurous album than “Forever Changes.” In any case, these tracks are among the finest recordings of Love as musicians. (Key parts of “Forever Changes” were played by hired hands.) The band had expanded to seven players, upgraded its drummer, added woodwinds and, of all things, integrated a harpsichord. The first side of “Da Capo” is a lovely experiment in fusing sounds from rock, Latin rhythms, jazz and classical. Lee and company succeed at this without pandering, producing some of their best songs.  From: https://psychedelicsight.com/no-37-loves-da-capo/

Love - Alone Again Or

 #Love #Arthur Lee #Bryan MacLean #psychedelic rock #folk rock #acid rock #psychedelic folk #garage rock #1960s

“Alone Again Or” must be one of pop music’s more enigmatic song titles. But it’s always struck me as a title in search of an ellipsis. Perhaps “Alone Again Or…”, “Alone Again…Or”, or maybe even “Alone Again…Or?” might have made more sense. But whether or not you feel the title deserves those little dots in there somewhere, I hope you can agree that “Alone Again Or” is a tremendous song. Recorded in the summer of 1967, by a group called Love…itself something of an appropriate name for the Summer of Love…couldn’t have chosen a better time for their part-folk, part-rock, part-psychedelia, part-Latin song to chime with the popular mood. Rolling Stone magazine included “Alone Again Or” in their listing of the top 500 songs of all time…and that’s probably about right for a song that captures the spirit of the late 1960s so well. “Alone Again Or” does something very clever, though. It captures the spirit of the time without being too much of the time. It’s a song of love and loss that frankly could have been written at just about any time in musical history. Yet it captures the musical influences swirling around the LA music scene in the late 1960s perfectly. Not just for the wide range of influences apparent in the song itself…folk, rock, psychedelia and Latin to name just a few…but even in the way the song was mixed. Songwriter Bryan MacLean’s Spanish-style guitar comes firmly out of your right speaker and the drums that set the pace throughout the song come firmly out your left speaker. In the early days of stereo recordings this was something people liked to do…partly just because they could, and partly because artists and producers wanted to show off that they’d used this new-fangled stereo technology to make a record. People quickly tired of that and nowadays it would be almost unthinkable to mix a song this way, but “Alone Again Or” is one of the small number of hit records which was, another way in which the song is so very reminiscent of the late 1960s.  From: https://nowordsnosong.medium.com/alone-again-or-love-4bdd3366f104

Love - 7 and 7 is

 #Love #Arthur Lee #psychedelic rock #folk rock #acid rock #psychedelic pop #garage rock #jazz rock #blues rock #West coast psychedelia #1960s

One of the best West Coast folk-rock/psychedelic bands, Love may have also been the first widely acclaimed cult/underground group. During their brief heyday - lasting all of three albums - they drew from Byrds-ish folk-rock, Stones-ish hard rock, blues, jazz, flamenco, and even light orchestral pop to create a heady stew of their own. They were also one of the first integrated rock groups, led by genius singer/songwriter Arthur Lee, one of the most idiosyncratic and enigmatic talents of the '60s. Stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to tour until well past their peak. This ensured their failure to land a hit single or album, though in truth the band's vision may have been too elusive to attract mass success anyway.
Love was formed by Lee in the mid-'60s in Los Angeles. Although only 20 at the time, Lee had already scuffled around the fringes of the rock and soul business for a couple of years. In addition to recording some flop singles with his own bands, he wrote and produced a single for Rosa Lee Brooks that Jimi Hendrix played on as session guitarist. Originally calling his outfit the Grass Roots, Lee changed the name to Love after another Los Angeles group called the Grass Roots began recording for Dunhill. Love's repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean.
Inspired by British Invasion bands and local peers the Byrds, Love built up a strong following in hip L.A. clubs. Soon they were signed by Elektra, the noted folk label that was just starting to get its feet wet in rock (it had recorded material by early versions of the Byrds and the Lovin' Spoonful, and had just released the first LP by Paul Butterfield). Their self-titled debut album (1966) introduced their marriage of the Byrds and the Stones on a set of mostly original material and contained a small hit, their punk-ish adaptation of Bacharach/David's "My Little Red Book."
Love briefly expanded to a seven-piece for their second album, Da Capo (1967), which included their only Top 40 hit, the corkscrew-tempoed "Seven & Seven Is." The first side was psychedelia at its best, with an eclectic palette encompassing furious jazz structures, gentle Spanish guitar interludes, and beautiful Baroque pop with dream-like images ("She Comes in Colors"). It was also psychedelia at its most reckless, with the whole of side two taken up by a meandering 19-minute jam. It was still a great step forward, but by mid-1967, the band was threatening to disintegrate due to drugs and general disorganization.
The group was in such sad shape, apparently, that Elektra planned to record their third album with session men backing Lee (on his compositions) or MacLean (on his compositions). Work on two tracks actually commenced in this fashion, but the shocked band pulled themselves together to play their own material again, resulting in one of the finest rock albums of all time, Forever Changes. An exceptionally strong set of material graced by captivating lyrics and glistening, unobtrusive horn and string arrangements, it was not a commercial hit in the U.S. (though it did pretty well in Britain) but remains an all-time favorite of many critics.
Just at the point where they seemed poised to assert themselves as a top band, Love's first and best lineup was broken up in early 1968, at Lee's instigation. Several albums followed in the late '60s and early '70s that, though credited to Love, are in reality Lee and backup musicians - none of whom had skills on the level of Bryan MacLean or the other original Love men. Lee largely forsook folk-rock for hard rock, with unimpressive results, even when he was able to get Jimi Hendrix to play on one track. The problems ran deeper than unsympathetic accompaniment: Lee's songwriting muse had largely deserted him as well, and nothing on the post-Forever Changes albums competes with the early Elektra records.  From: https://www.allmusic.com/artist/love-mn0000314600/biography