87. Love — Forever Changes (1967)

1. This album really took me by surprise. #83 on this list was another album by Love, one that I found quite overwrought with baroque sounds, unable to find a coherent voice. Flash forward less than a year, and they’ve figured it out here. I didn’t feel that Da Capo even belonged on this list; Forever Changes unquestionably does. This is a really great record.
2. This album drops a lot of the frankly obnoxious baroque sounds and replaces them with impeccably placed strings and horns. Sure: strings and horns can be obnoxious as well; but this is the best I’ve heard them employed in a rock album on this list thus far. This is apparent right from the start of the album, as opener “Alone Again Or” blasts off with spanish horn sounds, orchestral strings, and a killer driving beat. It’s a totally unique folk rock sound for the time, something that could be released today and find a real indie niche.
3. The band as a whole is firing on all cylinders here. The drum work is inventive and sharp; the guitar solos piercing when they need to. The interplay between the two sounds on “A House Is Not A Motel” can’t help but get you fired up. The driving beat on “Maybe The People Would Be The Times” beckons the band to keep up until finally a guitar solo is required. They also handle quieter acoustic tunes well; “The Red Telephone” calls to mind the quieter side of Bowie, while “Old Man” is a lovely little reflection.
4. The lyrics are frequently nonsensical, but in an esoteric way that at least rarely distracts. It’s an imperfect album, but it’s a great one. It’s regularly ranked in the top 50 albums of all time, which is higher praise than I’m prepared to offer right now, but I can’t fault those who might love it that much. I recommend giving it a spin.

One Essential Song:

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