The first half of Da Capo is pretty solid psychedelic pop rock despite Love’s ridiculously hammy vocalist. Listening to “¡Que Vida!” and hearing Arthur Lee’s accent could be a contest for how long one can go without laughing. He’s trying to come across as a sensitive, whimsical poet, but it’s so lamely contrived.

Speaking of, check out the second half of Da Capo and its 19-minute jam “Revelation,” similar to The Doors‘s own epic, “The End” that would release following a few months. Thing is, there’s a reason “The End” works. Its Oedipus Rex allusion gave its sonic crescendo a matching dramatic context that makes it all the more climactic. In “Revelation,” Lee starts wailing immediately, seemingly at complete random in what comes across as avant-garde desperation. And another thing: the jam in “The End” sounds great. “Revelation” is incohesive and chaotically structured, but not in an interesting way. I hope you enjoy the one chord strummed repeatedly for most of the song.

As for positives regarding Da Capo? Well, I like the keyboards. And there’s a surprising amount of genre variety here compared to most ’60s pop albums. “Seven & Seven Is” is a straight-up garage rocker. “Orange Skies” is very gentle and a highlight, if not a little too gentle, like the other psych pop songs on the album. The hooks could be punctuated more.

I’d say Da Capo isn’t worth your time overall, unless you’re particularly into the era’s psychedelic pop scene. Stick to the fantastic Forever Changes.