She Comes In Colors by Love
LOVE’S reputation rests on their dazzling third album, 1967’s Forever Changes. But the journey there involved several di? erent stops. Not least among these is “She Comes In Colors” – a jazzier, flute-and harpsichord-peppered Arthur Lee composition from 1966’s Da Capo. The Los Angeles band’s second album – named a. er a musical term meaning “back to the beginning” – took a pivotal step on the odyssey from their eponymous debut’s garage rock towards an ornate, psychedelic form of rock’n’roll.
“The first album was more minimalist, with everything recorded live,” recalls guitarist Johnny Echols, sipping ginger beer on a tour bus in Leeds, shortly before performing the hallowed catalogue with The Love Band. “But Da Capo was a more grown-up album. We wanted to push the envelope. I’m very proud of ‘She Comes In Colors’, because we’d been known as a garage rock band but suddenly jazz musicians would come up to us and ask, ‘How on earth did you guys come up with that..?’”
The seeds of this adventure had been sown shortly before the main album sessions, when Love entered Sunset Sound Recorders studio one with producer Jac Holzman and engineer Bruce Botnick to lay down “7 And 7 Is”, a hurtling proto-punk number that would become their first – and only – American Top 40 single (reaching No 33).
“That single was
