Your basket is empty

Categories :

Similar artists

Albums

From
CD£10.99

Folk - Released March 12, 1965 | Sanctuary Records

While this album is not to be confused with Donovan's debut album (which was released under two different titles, Catch the Wind and What's Bin Did and What's Bin Hid), this particular collection is devoted to material from the same period in the singer/songwriter's career, his early years recording for Pye Records when his work was most strongly influenced by Bob Dylan's days as the king of poetic protest music. The tracks on Catch the Wind are a good bit different than the sunny pop-psychedelic sides Donovan would make his trademark a few years down the line, but one can hear glimmers of this style in the playful "Sunny Goodge Street" and the possible double meanings of "Candy Man." Otherwise, this is a solid (if not quite definitive) study of Donovan the Folkie, and if this work is less resonant than his subsequent pop recordings, it shows he was already a fine vocalist and a promising songwriter, as well as a keen judge of the work of others (his cover of Buffy Sainte-Marie's "Universal Soldier" was a well-deserved hit). Catch the Wind [Castle 2003 Collection] overlaps with a number of other collections of Donovan's early sides, but the track selection and audio are good enough that it would be a fine purchase for fans who are lacking the artist's formative works. © Mark Deming /TiVo
From
CD£10.99

Folk - Released October 22, 1965 | Transatlantic

Donovan's second album found the Scottish folkie in possession of his own voice, a style of earnest, occasionally mystical musings indebted neither to Woody Guthrie nor Bob Dylan. True, Fairytale's highlights -- "Sunny Goodge Street," "Jersey Thursday," and "The Summer Day Reflection Song" -- use a sense of impressionism pioneered by Dylan, but Donovan flipped Dylan's weariness on its head. His persona is the wistful hippie poet, continually moving on down the road, but never bitter about the past. The folkie "Colours," already a hit before the album's release, is also here (though without Donovan's harmonica). A few of his songs are inconsequential and tossed-off ("Oh Deed I Do," "Circus of Sour"), but a few of these ("Candy Man" especially) succeed too, thanks to Donovan's effervescent delivery. © John Bush /TiVo
From
CD£10.99

Rock - Released May 14, 1965 | Sanctuary Records

Donovan's album debut, What's Bin Did and What's Bin Hid, presented his breakout British single "Catch the Wind" and added an assortment of pleasant folkie jams. Though he was often derided at the time as a pale imitation of Bob Dylan, there isn't a lot of evidence here; true, he does cover a Woody Guthrie song ("Car Car Riding in My Car") and gives it some twang worthy of the master, but his style is his own, slanted toward the mysticism of British folk less than the earthiness of its American cousin. Donovan summons the proper age-old weariness for "Goldwatch Blues," gets a bit bluesy for "You're Gonna Need Somebody on Your Bond," and lets it all hang out for "Keep on Truckin'." © John Bush /TiVo
From
CD£15.49

Folk - Released September 29, 2014 | Sanctuary Records

From
CD£8.49

Folk - Released December 1, 1967 | The state51 Conspiracy

Rock music's first two-LP box set, A Gift from a Flower to a Garden overcomes its original shortcomings and stands out as a prime artifact of the flower-power era that produced it. The music still seems a bit fey, and overall more spacy than the average Moody Blues album of this era, but the sheer range of subjects and influences make this a surprisingly rewarding work. Essentially two albums recorded simultaneously in the summer of 1967, the electric tracks include Jack Bruce among the session players. The acoustic tracks represent an attempt by Donovan to get back to his old sound and depart from the heavily electric singles ("Sunshine Superman," etc.) and albums he'd been doing -- it is folkier and bluesier (in an English folk sense) than much of his recent work. © Bruce Eder /TiVo
From
CD£8.49

Rock - Released March 1, 1967 | The state51 Conspiracy

Mellow Yellow is actually more diverse in its sounds than Sunshine Superman, drawing on some of the same era's better follow-up material but also reaching back somewhat further for repertory. It was, as one could rightly guess, a by-product of the late-1966 hit title track, but the songs dated back in some instances as much as a year, to a point prior to Donovan's having made the leap from folk to pop artist. "Mellow Yellow" itself was cut after "Sunshine Superman" and boasted one of the earliest arrangements by John Paul Jones to achieve international recognition (although not without some resistance from Donovan himself), with its broad, biting brass sound. The next two tracks, however, reached back to the singer-songwriter's earlier acoustic/folk songbag, and a very different point in his career -- the reflective, somber "Writer in the Sun" was written in Greece during the spring of 1966, when it looked as though Donovan's career was in danger of ending due to legal problems. By contrast, the hauntingly beautiful "Sand and Foam" dated from a somewhat happier visit to Mexico. "The Observation" manages to quote the album's title tune obliquely in its bass-line, even as the singer veers close to a beat-style poetry recital. "Museum," which sounds at times almost like an artier sequel to "Sunshine Superman" and a precursor to "There Is a Mountain" in its word pattern, breaks up the succession of blues settings on the album's second side, as does the jazz-flavored "Hampstead Incident." The album ends with "Sunny South Kensington," an upbeat number driven by radiant (albeit name-dropping) lyrics, Eric Ford's crunchy guitar (emulating his contribution to "Sunshine Superman"), Shawn Phillips' sitar, and an economical arrangement by John Cameron (who also plays the harpsichord). © Bruce Eder /TiVo
From
CD£8.49

Rock - Released October 8, 2002 | The state51 Conspiracy

Always a strong performer when it came to singles, Donovan was gifted with this near-perfect encapsulation from EMI (which only scrimps on the liner notes and sound). Sunshine Superman: The Very Best of Donovan rightly focuses on his '60s prime and spends 22 tracks doing it, which allows room for a wealth of material beyond the usual; not just late-period flowerings "Atlantis" and "Guinevere" but loafing mid-'60s epics like "Turquoise," "Sand and Foam," and "Sunny Goodge Street" that never topped any charts but gave a splendid pop spin to bucolic British folk music. © John Bush /TiVo
From
CD£15.49

Folk - Released January 1, 1998 | Castle Communications

From
CD£8.49

Rock - Released August 26, 1966 | The state51 Conspiracy

Having Mickie Most as producer could be a double-edged sword. On The Hurdy Gurdy Man, his over-ambitious nature and scattershot production sense occasionally sabotaged Donovan's songs rather than emphasizing their strengths. (The credits shamelessly list "Produced by Mickie Most" and "A Mickie Most Production," right next to each other.) As with the last few LPs, the program began with the hit title track (one of Donovan's best singles), a dim, dark song balancing psychedelia with the heavier, earthier rock championed during 1968 by Dylan and the Beatles. Though the next two tracks -- an eerie, trance-like "Peregrine" and the endearing acoustic number "The Entertaining of a Shy Girl" -- are excellent performances, any sense of mood is soon shattered by a hopelessly overblown music-hall showtune, "As I Recall It." This terrible problem of pacing and song placement continually afflicts The Hurdy Gurdy Man, rendering ineffective many solid songs. As for the writing, Donovan certainly wasn't expanding his songbase; as usual, the album overflowed with playful songs on girls ("West Indian Lady," "Jennifer Juniper") and pastoral themes ("The River Song," "A Sunny Day," "The Sun Is a Very Magic Fellow"). Most of these featured more inventive, sympathetic accompaniment, combined with Donovan's usual spot-on delivery. Despite the great songs and (usually) solid performances, though, The Hurdy Gurdy Man is a very difficult listen. © John Bush /TiVo
From
CD£8.49

Pop - Released September 18, 1989 | The state51 Conspiracy

Time was when this 20-track 67-minute British compilation had it all over any U.S. best-of on Donovan. Not only did it offer sound superior to that on any Donovan release from America during the 1980s, but it included the extended 4:31 version of "Sunshine Superman" and it embraced such late-'60s hits as "Atlantis" and "Barabajagal," plus the single "To Susan on the West Coast Waiting," and a trio of songs -- "Preachin' Love," "Teen Angel," and "Aye My Love" -- that had never surfaced on an American CD release. Since then, the Epic Records' domestic Donovan's Greatest Hits has been upgraded in sound and expanded to encompass the three later hits, as well as the long version of "Sunshine Superman," and the double-CD Troubadour: The Definitive Collection 1964-1976, has filled in a lot of gaps in his catalog on this side of the Atlantic. The sound of Greatest Hits and More is superior to the original U.S. compact disc Donovan's Greatest Hits, but not nearly as impressive as the sound quality on the 1999 remastered edition of the Epic CD. The notes include commentary (some of it surprisingly tart) by a pair of writers, and an overview of the artist's career, which contains nothing new. Still, despite all of the efforts by Sony Music in America, this remains a somewhat worthwhile collection, not only for fans who want a slightly different and broader cross-section of Donovan's music than the American Epic disc, but for serious completists, who will certainly luxuriate in the jazzy sensibilities of "Preachin' Love." And for anyone who wants them, as of 2002, this CD was the only extant release of those rather lugubrious 1969 vintage re-recordings of "Catch the Wind" and "Colours." © Bruce Eder /TiVo
From
CD£8.49

Rock - Released August 11, 1969 | The state51 Conspiracy

Donovan was in a tremendously creative phase during the latter part of 1968, owing to both a tour of the United States (which yielded a live album) and the chemical and social stimulation of his surroundings. Amid all of that activity and his subsequent recordings, his European performances, and the slightly late catch-up of his British career to his American success, Donovan's work blossomed in several different directions on the resulting album, Barabajagal. He still sounded like a folkie, but on the title track as well as "Superlungs My Supergirl," he was backed by the Jeff Beck Group and an outfit that included Big Jim Sullivan and John Paul Jones, respectively. With Barabajagal, Donovan intermingled soft, lyrical, spaced-out folk, hard psychedelia, children's songs, anthems to free love (along with a lusty appreciation of the fairer sex that runs throughout the album), and even antiwar sentiments ("To Susan on the West Coast Waiting"). The result was the most challenging album then issued by Donovan, but also one of his most successful, with album sales driven by the presence of the U.S. hit "Atlantis." © Bruce Eder /TiVo
From
CD£4.79

Folk - Released March 25, 2016 | Westmill

From
CD£8.99

Rock - Released May 31, 2006 | Artful Records

From
CD£8.49

Rock - Released August 26, 1966 | The state51 Conspiracy

Paced by the title track, one of Donovan's best singles, 1966's Sunshine Superman heralded the coming psychedelic age with a new world/old world bent: several ambitious psychedelic productions and a raft of wistful folk songs. Producer Mickie Most fashioned a new sound for the Scottish folksinger, a sparse, swinging, bass-heavy style perfectly complementing Donovan's enigmatic lyrics and delightfully skewed, beatnik delivery. The two side-openers, "Sunshine Superman" and "Season of the Witch," are easily the highlights of the album; the first is the quintessential bright summer sing-along, the second a chugging eve-of-destruction tale. The rest of Sunshine Superman is filled with lengthy, abstract, repetitive folk jams, perfect for lazy summer afternoons, but more problematic when close attention is paid. Accompanied by acoustic guitar and a chamber quartet, the second track, "Legend of a Girl Child Linda," plods on for nearly seven minutes, Donovan's hippie-dippie delivery rendering "lace" into "layyyzzz." After that notable low point, he performs much better, tingling a few spines with his enunciation on the ancient-sounding folksongs "Guinevere," "Three King Fishers," and "Ferris Wheel." Elsewhere, he salutes the Jefferson Airplane on "The Fat Angel" and fellow British folkie Bert Jansch on "Bert's Blues." Donovan's songs are quite solid, but Mickie Most's insistence on extroverted productions (it would grow even more pronounced with time) resulted in a collection of songs that sound good on their own but aren't very comfortable in context. © John Bush /TiVo
From
CD£13.49

Children - Released March 19, 2002 | Music for Little People

It is difficult to say why this album designed for children doesn't work any better than it does. Perhaps it's because everything here is so quaint, and quaintness is a distinctly adult notion, a close cousin to willful nostalgia, and neither trait is anything that most kids would even bother exploring. Mixing in older songs like "Mandolin Man and His Secret" and "Little Boy in Corduroy" with a handful of newer pieces (and what must be the 400th version of "Colours"), Donovan actually does here what he has really always done, and that is make a pleasant, at times even interesting, album for adults who want to feel like they're children again. There is certainly nothing wrong with that. Just don't try selling it to the kids, because they undoubtedly wouldn't sit still for it. © Steve Leggett /TiVo
From
CD£3.19

Rock - Released April 3, 2019 | Play Music

From
CD£12.74

Folk - Released August 26, 1966 | The state51 Conspiracy

Paced by the title track, one of Donovan's best singles, 1966's Sunshine Superman heralded the coming psychedelic age with a new world/old world bent: several ambitious psychedelic productions and a raft of wistful folk songs. Producer Mickie Most fashioned a new sound for the Scottish folksinger, a sparse, swinging, bass-heavy style perfectly complementing Donovan's enigmatic lyrics and delightfully skewed, beatnik delivery. The two side-openers, "Sunshine Superman" and "Season of the Witch," are easily the highlights of the album; the first is the quintessential bright summer sing-along, the second a chugging eve-of-destruction tale. The rest of Sunshine Superman is filled with lengthy, abstract, repetitive folk jams, perfect for lazy summer afternoons, but more problematic when close attention is paid. Accompanied by acoustic guitar and a chamber quartet, the second track, "Legend of a Girl Child Linda," plods on for nearly seven minutes, Donovan's hippie-dippie delivery rendering "lace" into "layyyzzz." After that notable low point, he performs much better, tingling a few spines with his enunciation on the ancient-sounding folksongs "Guinevere," "Three King Fishers," and "Ferris Wheel." Elsewhere, he salutes the Jefferson Airplane on "The Fat Angel" and fellow British folkie Bert Jansch on "Bert's Blues." Donovan's songs are quite solid, but Mickie Most's insistence on extroverted productions (it would grow even more pronounced with time) resulted in a collection of songs that sound good on their own but aren't very comfortable in context. © John Bush /TiVo
From
CD£3.99

Pop - Released October 23, 2019 | Rarity Music

From
CD£12.74

Rock - Released August 1, 1968 | The state51 Conspiracy

Finally. This 1967 concert recorded at the Anaheim Convention Center, just a few weeks after his Hollywood Bowl show, was recorded in its entirety and released as a single LP with a total of 14 tracks. This double-disc CD reissue contains 23 tracks, and is, as it survives, the entire gig. In addition, the sound has been painstakingly remastered; the result is a brilliant sounding document. Flow in a Donovan concert is important, and here, presented as it occurred, listeners can drift right into the tidepool of magic. The band is a quintet with Harold McNair on flute and saxophones, Loren Newkirk on piano, Andy Tronosco on upright bass, Tony Carr on drums, and John Carr on bongos. Donovan plays acoustic guitar throughout. The hippy mysticism and flower power poet is everywhere here. This isn't rock star excess at all, but an organic, drenched-in-sunshine concert full of gentleness with a premium on good vibes. Tunes not on the original LP and CD issues include "Sunny Goodge Street," "Epistle to Derroll," "Sand and Foam," "Hampstead Incident," "To Try for the Sun," "Someone Singing," "The Tinker and the Crab," and a partial recording of the second half of "Catch the Wind," which was included for purposes of completion, but was marred by a malfunctioning tape recording. Donovan was already an expert at getting audiences to eat out of his hand, and here that happens in spades. In fact the only album that comes close to having the flow of this concert was the studio recording of Van Morrison's Astral Weeks. While it's true this is only available as an import, it should be sought out by any fan, or, for that matter, any cynic who hasn't heard this particularly beautiful and airy genius of Donovan Leitch. With this presentation, Donovan In Concert becomes one of the great live albums of the '60s. © Thom Jurek /TiVo
From
CD£4.49

Rock - Released May 4, 2010 | NPL