Oriole Nebula

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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.)

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 (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 styl

Oriole Nebula

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oriole - Definitions from Dictionary.com

1 result for: orion nebula ( Browse Nearby Entries ) ORIO Oriol Oriole orioles ... Dictionary.com Unabridged (v 1.1) Based on the Random House ...

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