The "flower child" image worked better for him commercially than the folk image had.not that fortune and fame was necessarily first among Donovan's priorities. Already the singer was undergoing a transformation in music and image Mickie Most, the notoriously difficult-to-work-with producer behind smash hits by The Animals, Herman's Hermits and The Nashville Teens, began working with Donovan.and that's when it all took a trippy turn. "Universal Soldier" and "Summer Day Reflection Song" were two of the four numbers he performed. Headed by hot current acts including The Lovin' Spoonful and The Byrds, it had been staged at a Los Angeles nightclub in November '65 and provided Donovan with more than his share of screen time. Show, an American International concert film (and sequel to late '64's T.A.M.I. Bob and Donovan met, developed a friendly rapport and quashed all notions of a rivalry.
Writers began comparing him to Bob Dylan, who'd broken through at about the same time, in futile attempts to stir up some sort of competitive resentment between the two, ignoring the notion that the folk categorization was the only thing they had in common. Pye chose to issue another romantic musing, "Turquoise," in its place. A U.S.-only single, it competed for airplay in the fall of '65 with a version by Glen Campbell. Donovan has admitted many of his compositions were inspired by the initally-unattainable Linda, including the second hit, "Colours" ('Yellow is the color of my true love's hair, in the mornin'.when we rise.that's the time I love the best'), a British top ten that summer.ĭonovan composed all but one of his hit songs "Universal Soldier" has been described by composer Buffy Sainte-Marie (a politically active folk singer from Saskatchewan, Canada) as a symbol for ".the personal responsibility of all," be they soldiers, politicians or civilians. top ten within weeks of the RSG shows and remained there through most of April and May, impacting the U.S. "Catch the Wind" ('To feel you all around me and to take your hand along the sand.ah, but I may as well try and catch the wind.') was written for Linda Lawrence, a young woman in a relationship at the time with Brian Jones of The Rolling Stones (Donovan had met the band shortly after his star began to rise) the single hit the U.K. A contract with Pye records resulted Leitch wrote his own material, singing and playing acoustic guitar on most of the tracks he recorded.
#MELLOW YELLOW SONG BEATLES TV#
Albans and later Cornwall, north of London, he made the rounds using the singular name Donovan, performing folk music with a kazoo-playing friend from Hatfield, David Mills, who went by the nickname "Gypsy Dave." In 1964, the 18-year-old Donovan caught the eye of songwriter Geoffrey Stephens and his business partner Peter Eden and they began representing him an audition tape was sent to Elkan Allan of Ready Steady Go!, leading to three consecutive February '65 appearances on the highly influential TV series. The Glasgow-born adolescent lived in Hatfield, Hertfordshire, England starting in the mid-1950s, becoming interested in folk music as it blossomed later in the decade. Entertaining art at the very least, his musical output over a four-year period in the latter half of the 1960s is abundant with mysterious imagery. From lines like 'Thrown like a star in my vast sleep' (from "Hurdy Gurdy Man"), one might suspect he purposely solicited a certain degree of bewilderment. Deeply personal, often indecipherable lyrics are the rule rather than the exception for Scottish songsmith Donovan Philips Leitch meanings found in his songs (ranging from persuasive social commentary to cleverly-rhymed conundrums) vary greatly according to each person's point of view.
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