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WD_410/ 2008
(  Satoshi Kinoshita )
| Series: | Works on paper: Drawings 5 | | Medium: | oilstick on paper | | Size (inches): | 25.6 x 17.9 | | Size (mm): | 650 x 455 | | Catalog #: | WD_0410 | | Description: | Signed, date and copyright in pencil on the reverse.
Electric Banana - ''Electrical Banana is gonna be a sudden craze. Electrical Banana is bound to be the very next phase.'' - Donvan 'Mellow Yellow' 1966
Don't Smoke The Banana Man!
I receive a number of hits looking for the lyrics, and/or the meaning to Donovan's Mellow Yellow. You can get the full lyrics at Song Lyrics. As to the meaning. I can now tell you right from the horses mouth. I heard Donovan interviewed by Terry Gross on NPR Freshair. The section on smoking bananas can be heard here.
In this interview he is asked to explain the lyrics. He goes on to tell a story about the electric banana. He claims that he knew nothing about smoking banana peels, and is surprised that anyone could believe that you could get high smoking banana peels. The mystery was revealed to him when he was sitting next to Country Joe McDonald in the Rock 'n' Roll Hall Of Fame in Cleveland in about 2000, and McDonald said to him "It was me man." Donovan asked him to explain.
Back in 1966 Country Joe and The Fish were giving a performance that they wanted to publicise. They managed to find an old carnival float which had a huge banana on it. They decided that they would drive this float through Height-Ashbury with the band playing on the back of it. To ensure maximum publicity McDonald released to the press the information that you could get high by smoking banana peels.
All would have been forgotten, except the following Friday Donovan released "Mellow Yellow" with the famous lines
"Electrical banana
Is gonna be a sudden craze
Electrical banana
Is bound to be the very next phase"
And the rest, as they say is history.
The song is apparently about being mellow, the colour saffron being the colour of a Buddhist Monks robe, and also a girls name. Donovan just wanted everybody to be laid back and cool.
I wonder how many people have actually tried to smoke banana peel?
Donovan, by the way became the first of the sixties stars to be busted for smoking pot. In 1967 he became the first one to renounce drugs and urge his fans to do the same. By then he had turned to Transcendental Meditation
Country Joe's version of this story is on his website. It seems to disagree with Donovan's version of events. Will We ever learn the truth?
-ebanana.orcon.net.nz/
Mellow Yellow -
"Mellow Yellow"
Single by Donovan
from the album Mellow Yellow
B-side "Sunny South Kensington" (USA)
"Preachin' Love" (UK)
Released 24 October 1966 (USA)
February 1967 (UK)
Format 7" single
Recorded September 1966
Genre Pop music
Label Epic 5-10098
Pye 7N 17267
Writer Donovan
Producer Mickie Most
Donovan singles chronology
(1966) "Sunshine Superman"
(1966) "Mellow Yellow"
(1967) "There is a Mountain"
"Mellow Yellow" is a song and single release by Donovan.
The song was rumored to be about smoking dried banana skins, which was believed to be a hallucinogenic drug in the 1960s, but this rumor has since been debunked. According to Donovan's notes accompanying the album "Donovan's Greatest Hits," the rumor that one could get high from smoking dried banana skins was started by Country Joe McDonald in 1966, and Donovan heard the rumor three weeks before "Mellow Yellow" was released as a single. The currently accepted truth about the song "Mellow Yellow" is that it is about a sex toy, shaped like a banana, that the girls were crazy about[citation needed].
In 1999, "Mellow Yellow" was sung by a group of young adults—among which were then-unknowns Alex Greenwald and Jason Thompson—in Gap's "Everybody in Cords" commercial directed by Pedro Romhanyi. The music mix was done by the Dust Brothers.[1]
Personnel:
* Donovan: vocals and acoustic guitar
* John Paul Jones: bass and arrangement
* Bobby Orr: drums
* Danny Moss and Ronnie Ross: horns
References:
1. ^ Mind the Gap in: Entertainment Weekly #502 (Sep 10, 1999)
-en.wikipedia.org/wiki/Mellow_Yellow
Donovan _
Donovan (Donovan Phillips Leitch, born May 10, 1946, in Maryhill, Glasgow), is a Scottish singer, songwriter, and guitarist. Emerging from the British folk scene, he developed an eclectic and distinctive style that blended folk, jazz, pop, psychedelia, and world music.
Career outline:
Donovan came to fame in the United Kingdom in early 1965 with a series of live performances on the pop TV series, Ready Steady Go!, and his popularity spread to the USA and other countries. After signing with the British label, Pye Records in 1965, he recorded a handful of singles and two singles in the folk music vein. After getting out from his original management contract, he began a long and successful collaboration with leading independent record producer Mickie Most, scoring a string of hits in the UK, the USA, Australia and other countries, including several British and American #1 hits and million-selling records.
Donovan was one of the most popular British recording artists of his day, producing a series of hit albums and singles between 1965 and 1970. He became a friend of leading pop musicians including Joan Baez, Brian Jones, and The Beatles, and was one of the few artists to collaborate on songs with the Beatles. He influenced both John Lennon and Paul McCartney when he taught them his finger-picking guitar style in 1968.[1] Donovan's commercial fortunes waned after he parted ways with Mickie Most in 1969, and he left the music industry for a time.
He continued to perform and record sporadically in the 1970s and 1980s, but gradually fell from favour. His gentle musical style and hippie image was scorned by critics, especially after the advent of punk rock. Donovan withdrew from performing and recording several times during his career, but he underwent a strong revival in the 1990s with the emergence of the rave scene in Britain. Late in the decade, he recorded a successful album with producer and long-time fan Rick Rubin and released a new album, Beat Cafe, in 2004.
Early life and career:
Donovan grew up in Maryhill, Glasgow, Scotland. He contracted polio as a child when he was vaccinated (this was in the period before the introduction of the safer Sabin oral vaccine), and the disease and subsequent treatment left him with a limp.
In 1956, his family moved to Hatfield, England. Influenced by his family's love for Scottish and English folk music, he began playing guitar at 14. He enrolled in art school but dropped out soon afterwards, determined to live out his Beatnik aspirations by going out on the road. In 1963 he took a trip to St Ives with Gypsy Dave and other friends from Hertfordshire.
Returning to Hatfield, he spent several months playing in local clubs, absorbing the music of the British folk scene around his home in St Albans, learning the cross-picking guitar technique from local players like Mac MacLeod and Mick Softley, and writing his first songs.
In 1964 he travelled to Manchester with Gypsy Dave, then spent the summer in Torquay, Devon. It was here that he stayed with his old friend and guitar mentor from St Albans, Mac MacLeod, and it was during this period that he began busking (street performing) and more serious study of the guitar and learning traditional folk and blues songs . (Donovan was interviewed about his time in Torquay for Beat Instrumental in May 1965.[2])
In late 1964, he was offered a management and publishing contract. He went to London where he recorded a 10-track demo tape (recently rediscovered and released on iTunes), which included the original recording of "Catch The Wind", his first single. That song revealed the influence of Woody Guthrie and Ramblin' Jack Elliott, who had also influenced Bob Dylan. Although Dylan comparisons followed him for some time, the tape also made it clear that Donovan was a performer of considerable skill and originality. In an interview with KFOK radio in the USA on June 14, 2005, MacLeod stated, ". . . the press were fond of calling Donovan a 'Dylan Clone' as they had both been influenced by the same sources: Ramblin' Jack, Jesse Fuller, Woody Guthrie, and many more." Other significant influences in his formative years aside from Mac MacLeod included Derroll Adams, John Renbourn, Davey Graham, Bert Jansch and American blues and jazz artists including Jesse Fuller, Muddy Waters, Leadbelly, and Billie Holiday.
While recording the demo at a studio on Denmark Street, Donovan befriended Brian Jones of The Rolling Stones, who was recording in a nearby studio. Coincidentally, he had also recently met Jones's ex-girlfriend, Linda Lawrence. (When she met Donovan her relationship with Jones was effectively over.) Donovan and Jones became close friends, and their relationship lasted until Jones's death in 1969. The meeting between Linda and Donovan was pivotal. They began an on-off romantic relationship for the next five years. She exerted a huge influence on Donovan's music. Linda refused to marry Donovan and moved to America for several years in the late 1960s. Although he had other relationships — one of which resulted in the birth of his first two children, Donovan Leitch, Jr., and Ione Skye Leitch — he remained strongly drawn to Linda, and she became his muse. His confused feelings about her inspired dozens of songs, including "Legend Of A Girl Child Linda", "Sunshine Superman" and many others.
A star is born:
Donovan had a rapid rise to stardom. Within weeks his demo tape was heard by Elkan Allen, producer of the pop show, Ready Steady Go!, who was so impressed that he invited the unknown 18-year-old to appear on the show. Donovan made his television debut on 30 January 1965 — a remarkable feat, considering that he had been a penniless vagrant only months before. Unusual for pop programmes of this time, where performers typically lip-synched to a pre-recorded track, Donovan played and sang live. His performance was so well received that he appeared weekly until the end of April, and immediately afterwards he was signed to a recording contract with Pye Records, whose other major pop acts included The Kinks and Petula Clark.
Donovan's first UK single, a new version of "Catch The Wind", was released soon after his third TV appearance. It was a successful debut, rising to 4 on the UK charts and selling more than 200,000 copies. On 11 April, he performed with the biggest stars of the day at the annual New Musical Express poll winners' concert at the Empire Pool in Wembley. At Wembley he had a four-piece band including drums, electric bass and Mac MacLeod on second guitar. This was called the first instance of Folk/Rock by music writer Richie Unterberger. The single was subsequently released on the small Hickory label in the USA, where it achieved a #30 chart placing.
Donovan's early musical style and dress (including a cloth cap) led to his being perceived and promoted as a British version of Bob Dylan, a perception enhanced by the slogan on his guitar - "This Machine Kills" - which was a shortened version of the slogan on the guitar of Dylan's idol, Woody Guthrie, that read "This Machine Kills Fascists".
The Dylan connection brought criticism from folk-music purists, some of whom assumed him to be merely a Dylan imitator. His meeting with Joan Baez during his first UK tour led to a meeting with Dylan himself, and not surprisingly, that meeting in April 1965 made headlines. Dylan was intrigued by the young musician, as can be seen in D.A. Pennebaker's film of Dylan's 1965 UK tour, Dont Look Back[sic] (released in 1967); they became friends and met on many occasions.
Donovan's second single, "Colours", was released in May 1965, reaching #4 in the UK, accompanied by his debut LP for Pye, What's Bin Did and What's Bin Hid, which reached #3 in the UK album charts. Retitled Catch the Wind for the US market, it reached #30 there. He made his first trip to the US at this time, performing in New York with Pete Seeger and Reverend Gary Davis, and appearing on The Ed Sullivan Show, Hullabaloo, and Shindig!, as well as performing to critical and audience acclaim at the July 1965 Newport Folk Festival.
Donovan's next recording was a four-track EP called Universal Soldier, which included his classic cover of the Buffy Sainte-Marie-written title track, as well as three other tracks with overt anti-war content. Two of those songs — "The War Drags On" and "Ballad Of A Crystal Man" — were among the few protest songs of the period that went beyond generalized anti-war sentiments and made explicit references to the war in Vietnam. This was a radical move for an emerging pop performer. Donovan's pioneering pacifist stance is often overlooked by critics: the Vietnam War still had majority support in 1965, and he was one of the few British pop musicians who expressed direct opposition to the war in their music. Despite the contentious subject matter, the EP was a commercial success, topping the British EP chart for eight weeks, reaching 14 on the British singles chart and 17 on the Australian singles chart.
"Colours" was also released in the US, but it charted poorly, reaching 40 on the Cash Box charts but only 61 on the Billboard chart. At this stage Donovan had greater success in sales than in radio airplay, since American Top 40 radio tended to avoid folk recordings, preferring more highly arranged pop records. The Catch the Wind LP set the pattern for most of his American releases, which tended to chart better in Cash Box than Billboard, reflecting the fact that Billboard's charts factored in radio airplay, whilst Cash Box did not.
A single version of "Universal Soldier" was issued in the US in late August 1965, and it repeated the mediocre chart performance of "Colours", reaching only 45 in Cash Box and 53 in Billboard. Pye released Donovan's second UK album, Fairytale, in October 1965, along with his next single, "Turquoise". These too were less successful than his previous releases, the album reaching 20 and the single peaking at 30. Donovan made a second US tour in November, and Pye licensed this to the Nashville-based Hickory label, which released the American version of Fairytale later that month. As in the UK, it charted much lower than the first LP, reaching only 85.
Collaboration with Mickie Most:
In late 1965, Donovan split with his original managers and signed with Ashley Kozak, who was working for Brian Epstein's NEMS Enterprises. Kozak introduced Donovan to American impresario Allen Klein (who would later take over management of The Rolling Stones and The Beatles). Klein in turn introduced Donovan to producer Mickie Most, who was then riding high on the success of his chart-topping productions with The Animals, Lulu, and Herman's Hermits.
Mickie Most was the nominal producer of almost all Donovan's best recordings, although Donovan asserts in his autobiography that some of his recordings in this period were self-produced, with little or no input from Most. The tracks they cut together represent some of the finest UK pop releases of the period, and feature the cream of the London session scene, including Big Jim Sullivan, Jack Bruce, Danny Thompson, and future Led Zeppelin members John Paul Jones and Jimmy Page. Many of these recordings were backed by jazz musicians, the most regular players being Danny Thompson (from Pentangle), Spike Heatley on upright bass, Tony Carr on drums and congas, John Cameron on piano and Harold McNair on saxophone and flute. Carr's conga style and McNair's distinctive flute playing are an intrinsic feature of many Donovan recordings, and both players toured the US with Donovan.
Sunshine Superman:
By 1966, Donovan had shed the overt Dylan/Guthrie influences and become one of the first British pop musicians to adopt a "flower power" image. More importantly, his music was developing and changing rapidly as he immersed himself in jazz, blues, Eastern music, and the new generation of US West Coast bands such as Jefferson Airplane and The Grateful Dead. He was now entering his most creative and original phase as a songwriter and recording artist, working in close collaboration with Mickie Most and especially with arranger, musician, and jazz fan John Cameron.
Their first collaboration was "Sunshine Superman". One of the first overtly psychedelic pop records, it was an innovative and eclectic blend of folk, rock, pop and jazz. The arrangement was augmented by prominent harpsichord, and set against a funky conga-driven backbeat. It also contained subtle but unmistakable references to LSD — notably, the line, "I could've tripped out easy, but I've changed my ways".
Donovan's rapid rise stalled temporarily in December 1965, when Billboard broke news of the impending production deal between Klein, Most, and Donovan, and then reported that Donovan was about to sign with Epic Records in the U.S. Despite Kozak's strenuous denials, Pye Records dropped the new single from their release schedule, and a contractual dispute ensued. As a result of this dispute, Donovan's UK and US record releases differed markedly, with most of his LPs being released in different forms on either side of the Atlantic; several significant album tracks from the late sixties were simply not available in the UK for many years.
The legal dispute continued into early 1966. During the hiatus, Donovan holidayed in Greece, where he wrote the wistful song, "Writer in the Sun", which was inspired by rumours that his recording career was over. He also toured the USA, playing some lightly attended gigs. He returned to London, collaborating with The Beatles and contributing lyrics (and unaccredited backing vocals) to the song "Yellow Submarine", recorded at Abbey Road Studios on 26 May, 1966.[citation needed]
By late 1966, the American contractual problems had been resolved, and Donovan signed a $100,000 deal with Epic Records. Donovan and Most went to CBS Studios in Los Angeles, where they recorded tracks for a new LP, much of which had been formulated and composed during the preceding year. Although folk elements were still prominent, the album showed the increasing influence of jazz, American west coast psychedelia, and folk rock, especially The Byrds, whose records Donovan had been listening to constantly throughout 1965.
The LP sessions were completed in May, and "Sunshine Superman" was released in the US as a single in June. It was a success, providing Donovan with an American chart breakthrough, selling 800,000 copies in six weeks and reaching #1. The LP followed in August, preceded by advance orders of 250,000 copies, and reached 11 on the US album charts.
The US version of the Sunshine Superman LP is probably the best, most consistent, and durable of Donovan's albums; it remains one of the keynote records of the psychedelic era. It features some of Donovan's strongest material in restrained but imaginative chamber-style folk-jazz arrangements. It also features an eclectic range of instruments including acoustic bass, sitar, saxophone, tablas and congas, harpsichord, strings and oboe. Highlights include the swinging "The Fat Angel", which (Donovan's book confirms) was written for "Mama" Cass Elliott of The Mamas and the Papas. The song is also notable for name checking the cult San Francisco acid rock band Jefferson Airplane, well before they became known internationally. Other notable tracks include "Bert's Blues" (a tribute to guitar hero Bert Jansch), the stately "Guinevere", and "Legend of a Girl Child Linda", an innovative track featuring voice, acoustic guitar and a small orchestra, and which runs for over six minutes.
The album is also probably the first pop recording to feature extensive use of the sitar, which was played by American folk singer Shawn Phillips. Donovan had met Phillips in London in 1965, and Phillips became a close friend and an important early collaborator, playing acoustic guitar and sitar on several major recordings including the Sunshine Superman album, as well as accompanying Donovan at numerous concerts.
In contrast to the pastoral tone of the rest of the album, several songs, including the title track, had a harder edge. The driving, jazzy "The Trip" was titled after the L.A. club of the same name; chronicling an LSD trip he took during his time in L.A., it was loaded with references to Donovan's sojourn on the West Coast, and name-checked both Dylan and Baez. The third "heavy" song, destined to become one of his most enduring recordings, was a brooding and portentous number called "Season of the Witch". Recorded with American and British session players, it features Donovan's first recorded performance on electric guitar. The song was covered by Brian Auger on his first LP in 1967, and Al Kooper and Stephen Stills recorded an 11-minute version on the 1968 album, Super Session. Donovan's version is also heard in the closing sequence of the Gus Van Sant film, To Die For.
Because of contractual problems, the album was not released in the UK for nine months, and then in an altered form — it had a different track order and omitted "The Fat Angel", "The Trip", and "Ferris Wheel", replacing them with "Hampstead Incident", "Young Girl Blues", "Writer in the Sun", and "Sand and Foam".
On 24 October, 1966, Epic released the rollicking, brass-laden single "Mellow Yellow", arranged by John Paul Jones and purportedly featuring Paul McCartney on unaccredited backing vocals. It was rumoured that the phrase "electrical banana" referred to smoking banana peels to get high, (see Berkeley Barb, perhaps because of this song). Donovan sounds like jazz singer Michael Franks. The phrase has also been considered to be a coded reference to a vibrator. Another line in that caused speculation is "I'm just mad about Fourteen", and in the version heard on the 1968 In Concert album, he sings, "I'm just mad about fourteen-year-old girls; they're mad about me."[1] The song became Donovan's signature tune and was a commercial success — it reached #2 in Billboard, 3 in Cash Box and earned a gold record award for sales of more than one million in the US.
During the first half of 1967, Donovan worked on an ambitious double-album studio project, which he produced himself. In January he gave a concert at the Royal Albert Hall accompanied by a ballerina who danced during a 12-minute performance of "Golden Apples". On 14 January, New Musical Express reported he was to write incidental music for a National Theatre production of As You Like It, but this did not come to fruition. His version of "Under the Greenwood Tree" did appear on "A Gift from a Flower to a Garden".
Later that month Epic released an LP, Mellow Yellow, which reached 14 in the album charts, and a new non-album single, "Epistle to Dippy", a Top 20 hit in the US. Written in the form of an open letter to an old school friend, the song had a strong pacifist sub-text, in spite of its florid psychedelic imagery. The real "Dippy" was at the time serving in the British Army in Malaysia. According to Brian Hogg, who wrote the liner notes for the Donovan boxed set, Troubadour, Dippy heard the song, contacted Donovan and left the army as a result.
On 9 February, 1967, Donovan was one of the guests invited by The Beatles to join them at Abbey Road Studios for the final orchestral overdub session for the Lennon-McCartney collaboration "A Day in the Life", the grand finale to their new opus Sgt. Pepper's Lonely Hearts Club Band.
Drug bust:
In mid-1966, Donovan became the first high-profile British pop star to be arrested for possession of marijuana. Donovan's drug use appears to have been moderate, and was mostly restricted to pot smoking — with occasional use of LSD and mescaline. Although he was not indulging on the scale of friends like John Lennon, Jimi Hendrix, and Brian Jones, his use of LSD is referred to in many of his lyrics, including "The Trip", "Sunshine Superman", "Wear Your Love Like Heaven", "Epistle To Dippy", and "Hurdy-Gurdy Man".
Public attention was drawn to his marijuana use by the TV documentary, A Boy Called Donovan, broadcast in early 1966, which showed the singer and friends smoking cannabis at a party thrown by the film crew. However, it now appears that the Drug Squad were already planning to target many British pop stars, and Donovan's arrest proved to be the first in a long series, including members of The Beatles and The Rolling Stones. Donovan's arrest garnered a great deal of publicity, and in early 1967, Donovan was the subject of an exposé by the British newspaper, the News of the World.
According to Donovan's autobiography, the article was based on an unauthorised interview given by an ex-girlfriend of his closest friend, Gypsy Davy. It was the first instalment of a three-part series, "Drugs & Pop Stars - Facts That Will Shock You". Although some claims were probably true, others were false. The most notorious instance was that of the News Of The World reporter's claiming to have spent an evening with Mick Jagger, who (he alleged) discussed his drug use and offered drugs to companions. Only after publication was it discovered that the reporter had mistaken Brian Jones for Jagger, who sued the paper.
Among other supposed revelations were claims that Donovan and other stars including members of The Who, Cream, The Rolling Stones, and The Moody Blues regularly smoked marijuana, used other illicit drugs, and held parties where the recently banned hallucinogen LSD was used, specifically naming The Who's Pete Townshend and Cream's Ginger Baker as LSD users.
It emerged later that the News Of The World reporters were using access to pop stars to gather information and pass it to the police. In the late 1990s, an article in The Guardian revealed that it was News Of The World reporters who alerted the police about the party at Keith Richards's house, Redlands, which was raided in the early hours of 12 February 1967, just after George Harrison and his wife had left.)
Although Donovan's was not as sensational as the later arrests of Jagger and Richards, because of the charges he was refused entry to the U.S. until late 1967 and was unable to perform at the Monterey International Pop Festival in June that year.
International success, 1967–69:
In July, Epic released the single, "There is a Mountain", which went top ten in the US and was later used as the basis for The Allman Brothers's Mountain Jam. In September, Donovan embarked on a tour of the US, backed by a small jazz group and accompanied by his father, who introduced the show.
Later that month, Epic released Donovan's fifth album, a two-disc set entitled, A Gift from a Flower to a Garden, the first rock music box set, and only the third pop-rock double album released. It was split thematically into halves. The first, subtitled "Wear Your Love Like Heaven", was written for the people of his generation that would one day be parents; the second, subtitled "For Little Ones", was a collection of songs Donovan had written for the coming generation. Worried it might be a poor seller, Epic boss Clive Davis insisted the albums be split and sold separately in the USA, but his fears were unfounded - although it took time, the boxed set sold steadily, eventually peaking at 19 on US album chart and achieving gold record status in the US in early 1970.
The psychedelic and mystical overtones of the work were unmistakable - the front cover (photographed at Bodiam Castle) featured an infra-red photograph by psychedelic album cover photographer Karl Ferris of Donovan dressed in a robe holding flowers and peacock feathers, while the back cover photo showed him holding hands with Indian guru Maharishi Mahesh Yogi. Surprisingly, the liner notes included an appeal from Donovan for young people to give up the use of all drugs — a decidedly un-hip stance for a rock musician at the height of the Summer of Love. His early public disavowal of drugs was no doubt motivated in part by his drug arrest, but he was (and remains) strongly opposed to hard drugs — a belief reinforced by the rapid physical and mental decline of his friend and Rolling Stone, Brian Jones.
In late 1967, Donovan contributed several songs to the soundtrack of the Ken Loach film, Poor Cow. The title track (originally called "Poor Love") was released as the B-side of his next single, "Jennifer Juniper", a song inspired by Jenny Boyd, sister of George Harrison's wife, Pattie Boyd. It was another top 40 hit in the USA.
Like the Beatles, Donovan developed an interest in eastern mysticism and in early 1968 he travelled to India where he spent several weeks at the ashram of Maharishi Mahesh Yogi in Rishikesh. The visit gained worldwide attention thanks to the presence of (for a time) all four Beatles as well as Beach Boys lead singer Mike Love and actress Mia Farrow and her sister Prudence (who inspired John Lennon to write "Dear Prudence"). According to a 1968 Paul McCartney interview with Radio Luxembourg[3], it was during this time that Donovan taught John Lennon and Paul McCartney various finger-picking styles such as clawhammer which he had learned from his St Albans buddy, Mac MacLeod. Lennon went on to use the technique on songs including "Julia" and McCartney with "Blackbird".
Donovan's next single was released in May 1968, the swirling psychedelic "The Hurdy Gurdy Man". In the liner notes from EMI's reissues, it is revealed that the song was intended for Donovan's old friend and guitar mentor Mac MacLeod, who had a heavy rock band called Hurdy Gurdy. After hearing MacLeod's power trio version, Donovan considered giving it to Jimi Hendrix, but when Mickie Most heard it, he convinced Donovan that the song was a sure single that he should record. Donovan tried to get Hendrix to play on the recording, but he was on tour and unavailable. Jimmy Page was also considered, but he was out of the country touring with The Yardbirds. Instead the position went to a young British guitarist, Alan Parker. It is possible Jimmy Page did play on other tracking sessions for The Hurdy Gurdy Man LP, although not on the title track. John Paul Jones played bass with Clem Cattini on drums. Jones and Page have stated that Led Zeppelin was formed during "The Hurdy Gurdy Man" sessions.
The heavier sound of "The Hurdy Gurdy Man" was a deliberate attempt by Most and Donovan to reach a wider audience in the US, where new hard-rock groups like Cream and The Jimi Hendrix Experience were having a major impact. In this case Most's commercial instincts were spot-on, and the song became one of Donovan's biggest hits, going to top 5 in both the UK and the US, and top 10 in Australia.
The same month, he recorded an even rockier single: the snarling, funky, freakbeat classic "Goo Goo Barabajagal", a song which gained him an avid following on the rave scene decades later. This time he was backed by the original incarnation of The Jeff Beck Group, featuring Beck on lead guitar, Ron Wood on bass, Nicky Hopkins on piano, and Micky Waller on drums.
The Beck group was under contract to Most and it was Most's idea to team them with Donovan in an attempt to bring a heavier sound to Donovan's work, while also introducing a more lyrical edge to Beck's. These recordings languished for some time. The two tracks cut with the Beck Group — ("Barabajagal" and the single's eventual B-side "Trudi") — plus three others, "Happiness Runs", "Superlungs (My Supergirl)", and "Where Is She?", were shelved for almost a year.
In July 1968, Epic released Donovan in Concert, the recording of his Anaheim concert in September 1967. Featuring a cover painting by Fleur Cowles, it is notable for its long running time, its mellow jazzy feel and excellent sound, with Donovan being one of the first pop artists of his era to release a live LP. Among the tracks (which include only two of his big hits) is "Epistle To Derroll" (eventually released on the 2006 Donovan In Concert expanded double CD), a tribute to one of his formative influences, Derroll Adams, as well as lengthy versions of "Young Girl Blues" and "The Pebble And The Man", a song later reworked and retitled as "Happiness Runs".
During the summer of 1968 Donovan worked on a second LP of children's songs, released in 1971 as the double album, HMS Donovan. In September, Epic released a new single, "Laleña", a subdued acoustic ballad which reached the low 30s in the US charts. The album The Hurdy Gurdy Man followed; it continued the style of the Mellow Yellow LP and reached #20 in America, despite containing several earlier hits, including the title track and "Jennifer Juniper".
After another US tour in the autumn he again collaborated with Paul McCartney, who was producing Post Card, the debut LP by the Welsh singer Mary Hopkin. Hopkin covered three Donovan songs: "Lord Of The Reedy River", "Happiness Runs" and "Voyage of the Moon". McCartney returned the favour by playing tambourine and singing backing vocals on Donovan's next single, the anthemic "Atlantis", which was released in Britain (with "I Love My Shirt" as the B-side) in late November and reached 23.
Early in 1969, the comedy film If It's Tuesday, This Must Be Belgium featured music by Donovan. On January 20, Epic released the single, "To Susan On The West Coast Waiting", with "Atlantis" as the B-side. The A-side, a gentle calypso-styled song, contained yet another pointed anti-war message, but still became a moderate Top 40 US hit. However, when DJs in America and Australia flipped it and began playing "Atlantis" heavily, that song became a major hit, achieving top ten in both countries in spite of its subject matter, its lengthy spoken introduction, and its running time of five minutes. Ironically, the gentle "Atlantis" formed the musical backdrop to what is arguably the most violent scene in Martin Scorsese's ultra-violent "Goodfellas". "Atlantis" received a low-key revival in 2000 when Donovan performed a retooled version of the song in an episode of Futurama titled "The Deep South" (2ACV12) which first aired on 16 April of that year. In the remake, Donovan describes the Lost City of Atlanta featured in the episode.
In March 1969 (too soon to include "Atlantis"), Epic and Pye released Donovan's Greatest Hits, which included several songs previously only available as singles — "Epistle To Dippy", "There is a Mountain" and "Laleña", as well as "Colours" and "Catch The Wind", which had been unavailable to Epic because of Donovan's contractual problems. It became the most successful album of his career; it reached #4 in the US, became a million-selling gold record, and stayed on the Billboard album chart for more than a year.
In July, Donovan performed at The Rolling Stones' free concert in Hyde Park, London, which was in part a memorial to Brian Jones, who had died only days before. Also that month the long-delayed "Barabajagal" single was released, reaching 12 in the UK but charting less strongly in the US. The Barabajagal album followed in August, reaching 23 in America.
The split with Most, and later career:
Growing tension between Mickie Most and Donovan came to a head in late 1969 when they argued about a recording session in Los Angeles. Most later explained that he had objected to "hangers-on" in the studio and "a lot of goings-on that I didn't like", and he gave Donovan an ultimatum — Donovan could do it his way or take a walk. Donovan declared that he wanted to record with someone else, and their partnership came to an end. They would not work together again until 1973's Cosmic Wheels.
After the rift, Donovan disappeared, apparently to Greece, re-emerging six months later to begin work on his next LP. The result, which was both titled and credited to Open Road, came out in late 1970 and was a marked departure from his earlier work. Stripping the sound back to a rock trio format, he dubbed the sound, "Celtic rock". The album was moderately successful, but it marked the start of a gradual decline in his popularity and commercial success, and his concert appearances became increasingly rare.
The largely self-produced children's album HMS Donovan was released in 1971, but failed to gain a wide audience. It was followed in early 1973 by his reunion with Mickie Most, the LP Cosmic Wheels. It was his last chart success, reaching the top 40 in both America and Britain. Later in the year he released Essence To Essence, produced by Andrew Loog Oldham, and a live album recorded in Japan, which featured an extended version of "Hurdy Gurdy Man" that included an additional verse written by George Harrison. Donovan also performed vocals on the Alice Cooper song "Billion Dollar Babies". Donovan also provided songs for the 1972 film The Pied Piper in which he also played the title role, and for Brother Sun, Sister Moon (1973), Franco Zeffirelli's film about St Francis of Assisi. The title song from the Zeffirelli film provided Donovan with an unexpected publishing windfall in 1974 when it was covered as the B-side of the million-selling US top 5 hit "The Lord's Prayer", by Australia's singing nun, Sister Janet Mead.
Donovan's later output included the albums 7-Tease (1974) and Slow Down World (1976). In 1977, Donovan toured as the opening act for Yes during their summer tour of the USA following the release of their Going for the One album. The 1978 LP, Donovan, reunited him for the last time with Mickie Most but was not well received at the height of the New Wave period. It was followed by Neutronica (1980), Love Is Only Feeling (1981), Lady Of The Stars (1984), and a 1990 live album featuring new performances of his classic songs.
The punk era (1977-1980) had provoked a backlash in Britain against the optimism and whimsy of the hippy era, of which Donovan was considered a prime example. The word "hippy" became a pejorative, and Donovan's fortunes with the public and the media suffered.
There was a brief respite for Donovan when he appeared alongside many big artists including Sting, Phil Collins, Bob Geldof, and two 1960s stalwarts whose popularity had been sustained - Eric Clapton and Jeff Beck - in the Amnesty International benefit show The Secret Policeman's Other Ball. Donovan was accompanied by favourite bass player Danny Thompson and performed several of his biggest hits including Sunshine Superman, Mellow Yellow, Colours, Universal Soldier, and Catch the Wind. He also featured in the line-up of the all-star performance of Dylan's I Shall Be Released for the show's finale. Donovan's performances were seen and heard worldwide on the resulting album and movie, released in 1982. The film captured one particular incident that relayed Donovan's determination and good humour. His initial appearance on the stage prompted one audience member to bellow, "I thought you were dead!", to which Donovan responded, "Not yet!". The audience's reaction to Donovan's rejoinder, as witnessed in the film, was proof that he still enjoyed popularity despite the anti-1960s sentiments of the time.
A tribute album to Donovan, Island of Circles, was released by Nettwerk in 1991.
Sony's 2-CD boxed set Troubadour (1992) continued the restoration of his reputation, and was followed by the overdue 1994 release of Four Donovan Originals, which saw his four classic Epic LPs released on CD in their original form for the first time in the UK. He found a seemingly unlikely ally in rap producer and Def Jam label owner Rick Rubin, who was a long-time fan. Rubin financed and produced Donovan's critically acclaimed 1996 album, Sutras.
Donovan and Linda have two children together, Astrella Celeste [2] and Oriole Nebula. (Donovan had two children with his 1960s American girlfriend Enid Stulberger, and both have entered the acting profession: his namesake son, Donovan Leitch, Jr., and his daughter, Ione Skye.
In November 2003, Donovan was awarded an honorary degree of Doctor of Letters from the University of Hertfordshire. He was co-nominated by Mac MacLeod.
A new album, Beat Café, was released on Appleseed Records in 2004. It marked a return to the jazzy sound of some of his 1960s recordings and featured bassist Danny Thompson and drummer Jim Keltner, with production by John Chelew (Blind Boys Of Alabama).
In May 2004, Donovan played "Sunshine Superman" at the pre-wedding concert for the Crown Prince and Crown Princess of Denmark.
Donovan has released his early demo tapes, Sixty Four and a re-recording of the Brother Sun, Sister Moon soundtrack, on iTunes.
Donovan playing in Washington D.C. January 2007 photo: Gene Carl Feldman
A set of his Mickie Most albums was released on 9 May 2005. This EMI set has dozens of extra tracks including another song recorded with the Jeff Beck Group.
In 2005, his autobiography The Hurdy Gurdy Man was published.
In May/June 2005, Donovan toured the UK (Beat Cafe Tour) and Europe with Tom Mason on double bass, former Damned drummer Rat Scabies and Flipron keyboard player, Joe Atkinson.
In spring/summer 2006, Donovan played a series of British festivals and two dates at Camden's Jazz Café, London.
In January 2007, Donovan played concerts at the Kennedy Center, in Washington, DC, at Alice Tully Hall, in New York City, and at the Kodak Theatre, in Los Angeles, California, in conjunction with a presentation by film maker David Lynch supporting the David Lynch Foundation for Consciousness-Based Education and World Peace. The concert at the Kodak Theatre was filmed by Palm Springs production company Raven Productions and is currently broadcast on PBS networks as a pledge-drive special.
In March 2007, Donovan played two shows at the South by Southwest music festival in Austin, Texas.
Donovan had planned a spring 2007 release of a new album, along with a UK tour. However, he subsequently announced on his website that the tour had been cancelled and the album release delayed. He indicated that he is in good health but gave no reason for the cancellation.
In April 2007, Donovan presented a three-part series on Ravi Shankar for BBC Radio 2.
In October 2007, Donovan toured the UK with film director David Lynch who was presenting a discussion on Transcendental Meditation.
Donovan is a supporter of The Druk White Lotus School in Ladakh, India.
In October 2007 Donovan announced plans for the Invincible Donovan University focusing on Transcendental Meditation. It will be near either Glasgow or Edinburgh.[4]
In October 2007 the first complete Donovan show DVD ever released: The Donovan Concert-Live in LA. Filmed at the Kodak Theatre Los Angeles earlier in the year is available on sale in the UK.
Donovan is at work on a new album tentatively titled "Ritual Groove". He has mentioned this album in a few interviews. In a June 2 interview for The Desert Sun he described "Ritual Groove" as a multi-media album that is waiting for videos to be applied to it. He called the album a soundtrack to a movie not yet made and claimed that many directors have expressed interest in doing scenes. Some internet chatter can be found describing the new album as a double CD soundtrack to a film entitled "The Square Root of 1%".
Regularly the French iTunes site released many re-worked tracks from the classic lives with additional guitars, drums, bass and back chorus.
With no date (2007?) a promotional new CD has appeared on the internet. Entitled "New songs from an icon", it contains "Gentle heart", "Ja healer", "The olive tree", "Devil weed", "Big pop star" and other re-recorded songs.
References:
1. ^ Donovan, Donovan in Concert, released on Atlantic July 1968, re-issued on BGO February 2002. ASIN B0000011LU.
2. ^ http://www.astrella-celeste.com/ Astrella Celeste
-en.wikipedia.org/wiki/Donovan
Donovan discography -
Albums:
* What's Bin Did and What's Bin Hid [UK] (1965) / Catch the Wind [U.S. title] (1965) #30 U.S.; #3 UK
* Fairytale (1965) #85 U.S.; #20 UK
* Sunshine Superman [U.S.] (1966) #11 U.S.
* Mellow Yellow [U.S.] (1967) #14 U.S.
* A Gift from a Flower to a Garden (1967) #19 U.S.; #13 UK; double album also released separately as:
o Wear Your Love Like Heaven [U.S.] (1967) and
o For Little Ones [U.S.] (1967)
* Donovan in Concert [Live] (1968) #18 U.S.
* The Hurdy Gurdy Man [U.S.] (1968) #20 U.S.
* Everlasting sea [U.K.] (1968) (very rare demo copies - studio recordings for shelved proposed album)
* Barabajagal [U.S.] (1969) #23 U.S.
* Open Road (1970) #16 U.S.; #30 UK (extensive use of flanging sound effects at the track Celtic Rock)
* H.M.S. Donovan (1971)
* Cosmic Wheels (1973) #25 U.S.; #15 UK
* Live in Japan: Spring Tour 1973 [Japan] (1973)
* Essence to Essence (1973) #174 U.S.
* 7-Tease (1974) #135 U.S.
* Slow Down World (1976) #174 U.S.
* Donovan (1977)
* Neutronica [France][Germany] (1980)
* Love Is Only Feeling [Germany] (1981)
* Lady of the Stars (1984)
* Rising [UK] / The Classics Live [U.S.] / 25 Years in Concert [Holland] [Live] (1990)
* One Night in Time [Japan] (1993) (tape)
* The Children of Lir (1994 Irish release) (Brian O' Reilly's musical legend)
* Sutras (1996)
* Rising Again [Live] (2001)
* Greatest Hits Live: Vancouver 1986 (2001)
* Pied Piper (2002)
* Celtia (2002) (very rare demo copies)
* Sixty Four (2004)
* Brother Sun, Sister Moon (2004 re-recorded versions)
* Beat Cafe (2004)
* classic lives reworked (2006) (France only)
* in concert - the complete anaheim 1967 show (2006)
* Laleña 9 tracks reworked (2006) (France & Germany only)
-en.wikipedia.org/wiki/Donovan_discography
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