1967 Album Established Love as Psychedelic Visionaries: Da Capo Unfurls as an Extensive Canvas for Psychedelic Ideas and Pioneering Journeys

Mobile Fidelity's Numbered-Edition SACD Presents the Band's Sophomore Effort in Living Color

No West Coast band put a deeper psychedelic spin on the mid-60s' burgeoning folk-rock scene than Love. And during a twelve-month period between late 1966 and 1967, no group rivaled Arthur Lee and company's freewheeling imagination and musical blend. Love's tenure was brief, but its impact and influence will forever loom large. Home to the collective's lone Top 40 hit, Da Capo is psychedelia at its best: a thoroughly original, vivid, unrestrained canvas for Lee's beautiful, eclectic ideas and pioneering sonic journeys.

Mastered from the original master tapes, Mobile Fidelity's numbered-edition hybrid SACD of Da Capo presents the album in living color. Interwoven textures, delicate accents, hand-stitched details, and wide-spanning dynamics integral to each song's framework and function emerge with three-dimensional perspective. MoFi engineers ensured that the disc breathes with tube amplifier-like warmth and transparency, characteristics tethered to the era's finest recordings. Background woodwinds, horns, and vintage organs occupy distinct spaces, while the soundstage boasts both excellent depth of field and width.

Arriving shortly after its debut, Da Capo established Love as psychedelia visionaries. A cult classic since its original release in January 1967, the record greatly expands on the experimentation of the Beatles' Revolver and predates Their Satanic Majesties Request, Sgt. Pepper's Lonely Hearts Club Band, and Piper at the Gates of Dawn by months. Executed by an expanded seven-piece lineup, Da Capo encapsulates baroque pop, proto punk, bossa nova, garage rock, and hard-driving jazz. Its limits are bounded only by Lee's scope, and the Memphis native remains unbounded throughout.

Accurately tabbed by critic Lillian Roxon as "an amusing paradox," Lee's identity as an African-American channeling the sound of a white Englishman expressing the Southern blues gives Da Capo added mysticism and muscle. From the tumbling house of mirrors that is the opening "Stephanie Knows Who" to the galloping, heavy, reverb-appointed "Seven & Seven Is" – a hit tune that confirmed Love's identity as Los Angeles' baddest street toughs – the effort swings and surprises, each turn leading down new corridors.

Such discovery lies behind the groundbreaking "Revelation," a 19-minute jam that occupied the entire second side of the LP and strongly rumored to have been produced by an uncredited Neil Young. Originally titled "John Lee Hooker," it progresses as a free-for-all boogie that, according to myth, soon inspired the Stones to pen "Goin' Home." Similar tradition is tied to Love's harpsichord-fragranced "She Comes In Colors," a baroque gem that led to the Stones' "She's a Rainbow."