Whereas the typical '68 Comeback release tends to be a fairly even mix of originals and covers, Love Always Wins features only three Comeback-penned offerings, the album-opening title track, Dark Cloud, and Polaroid Portrait. Whether it is in spite or because of this move, Love Always Wins proves to be perhaps the most easily accessible, almost garage-poppy, pleasant, and fun to listen to entry in the Memphis group's catalog. On the whole, Love finds the band more willing to cut loose and rock out than it seemed to have been on past releases, where the concern seemed to be more centered on staying close to its traditional blues/garage revivalist approach. This change of pace is also reflected in Monsieur Jeffrey Evans' trademark liner notes. Whereas previous efforts by '68 Comeback, as well as Evans' prior outfit, the Gibson Bros., were marked by his manic, stream-of-consciousness liner notes, generally consumed in equal measure by paying tribute to music legends and tallying broken hearts, Evans' notes on Love seem to indicate that he has a new and perhaps more optimistic take on the subject of love, for now at least. (And the notes were written on Valentine's Day, 1999). In standard Evans fashion, '68 Comeback tips its collective hat to classic artists like Charlie Feathers (to whom the album is dedicated and whose Tongue-Tied Jill is covered) in addition to genre figureheads like Big Mama Thornton (Hound Dog), John Lee Hooker (Dimples), Howlin' Wolf (Sitting on Top of the World), and Willie Dixon (My Babe). It is their educated choices in cover songs that leads one to believe that these Memphis boys play gritty, down and dirty, and sometimes a bit messy on purpose rather than due to a lack of skill. The case is that they have learned the rules of the genre, and are now prepared to strip the music down and rebuild it with borrowed pieces of original blues/rockabilly/garage supplemented with bits of punk attitude and power and garage revivalist passion and heart.