1967 BEAUTY Arthur Lee LOVE DA CAPO Garage Punk Psych +19 Min "REVELATION"

$

60

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• MINT / IN SHRINK WRAP
  
• ~ 1967 ~ ORIGINAL COLLECTIBLE !  
• TOP COPY! ..|/\|...............................................|/\|..
• L O V E
• da capo
• ..|/\|...............................................|/\|..
• USA - GOLD - Elektra - EKS 4005 - STEREO

1. ORIGINAL *STEREO* 1967 first pressing final collection museum worthy printing on the highly collectible GOLD Elektra label ...59 years of age,, hard to find a better copy...there is NO wear on the otherwise extremely wear prone cover ...most all copies show wear, this '67 first press remains a TOP-RATED prime example of the second L O V E album ~  storied sensation released just after their 1966 untitled first Lp
   
2. (see photo)
3. Da Capo is brilliant in its own right, a dazzling kaleidoscopic trip through stoned 1967 Los Angeles, a practically perfect hip-rock album.
   
   Kick-starting with the carnival jingle-jangle of “Stephanie Knows Who,” Love lead singer, Arthur Lee hollers and wails a love poem to a girl named Stephanie, backed by church organs, flailing electric guitar licks, and rat-tat-tat drums. Listening to the song, its not hard to see why Jim Morrison called Love his favorite Los Angeles band, as The Lizard King clearly swiped Lee’s emphatic grunts and “c’mon” chants.
4. “Orange Skies” the album’s lone Bryan Maclean track, settles into a highly infectious psychedelic groove, as the love song tosses out images like orange skies, cotton candy, carnivals and nightingales. Mainstream society might think its all hippie-dippy nonsense, et if one uses their imagination, one can be instantly be transported to Topanga Canyon in 1966, visualizing Maclean reclining back on a wood-grain balcony, in  paisley shirt and inevitably be rocking, staring into a blinding chick late in the afternoon sun and smoking what 'head' would call a huge 'spliff.'
   
   “Que Vida,” the album’s third track marks a departure from the first two songs, flashing the morbid undertones that Arthur Lee further explored on Forever Changes. While the songs honeyed electric guitars and velvet drums conjure nothing but pleasant vibes, the lyrics are a different story, fraught with indecision, and melancholic uncertainty. From there, the album darts suddenly into the frenetic psychotic ram-jam of “Seven & Seven Is,” a gripping garage punk number with freak-out lyrics, literally climaxing into explosion.
5. One of the main reasons why the album gets less attention than Forever Changes reflected the mere five days the band had to record the album (or how much acid they were on). While the melodies are all fully-formed, it's completely misjudged to assume the album is even close to weak. 
6. “The Castle,” named after the band’s Los Feliz residence, is under 50 words and makes all the more sense when if the listener is near aware. Meanwhile, the penultimate song, “She Comes in Colors” taken as a pure love song, reflects fact that not many tunes were more gorgeous, all sunshine organs amid Arthur Lee’s tear drop voice adding emotional shine to the number. If you’ve ever heard “She’s a Rainbow” from The Stones’ Their Satanic Majesties Request, you’ll notice its close and admittedly intentional similarity as Jagger basically lifted the tune for his own
   
   The album ends with a sprawling 19-minute jam, “Revelation” with its loose improvised riffing, searing harp solos and the hints of the power in Love’s dynamic stage show. The album amply displays why Love have been called the quintessential Los Angeles band, capturing the city’s uneasy balance of the sunshine 60's hipsters simplicity and the dark underbelly resisting such 'music.' 
7. One of the finest records of the 60s, Da Capo might have its hard edges and remains a brilliant early work from Arthur Lee, as one of America’s greatest songwriters.
8. 
   Stephanie Knows Who
   
   Orange Skies
   
   Que Vida!
   
   Seven & Seven Is
   
   The Castle
   
   She Comes in Colors
   
   B:
   
   Revelation (18:57)
9. 
   
10.   CONDITION:

• The cover: rated: MINT IN original SHRINK WRAPPER = 
  stiff, colorful and ultimately clean with vibrant colors; has no wear to the normally highly wear-prone cover = so hard to find without the usual wear, yet this copy is very (very!) clean! Completely striking visuals = stiff and near perfect = again no wear,has  no faded areas ... NO delete marks, no split seams - no writing - bright original colors = TOP LEVEL 59 years first press... Final collectible worthy !!!

1. The vinyl: Rated: M- dazzling shiny smooth sides playing entirely fantastic reflecting the 1967 sensations without issue! Both (gold) Elektra labels are clean