| | Donovan Fairytale CD Donovan Discography of CDs
Originally released on Hickory (127). Includes original release liner notes by Ren Grevatt.
FAIRYTALE is a reissue of Donovan's second album from 1965 and includes the UNIVERSAL SOLDIER EP and two non-album B-sides.
Sequel Records' followup to their CATCH THE WIND compilation, FAIRYTALE documents the era where Donovan Leitch was slowly turning from earnest folkie to pop oddball, though here he's still much more the former than the latter. Buffy Sainte Marie's "Universal Soldier" and his own "Colours," both heard here in two different versions, set the tone early on, but later in songs like "Sunny Goodge Street" and "The Summer Day Reflection Song," his SUNSHINE SUPERMAN-era twee-pop tendencies start to come to the fore.
Donovan's early records are mostly charming examples of mid-'60s folk rock--any Simon and Garfunkel fan, for example, will find FAIRYTALE interesting. The reissue includes a number of rare single sides.
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. [This version contains a bonus track,] ~ John Bush
Exclusive Japanese Limited Edition reissue of this 1965 album packaged in a miniature LP sleeve. 2006.
Personnel: Donovan (vocals, acoustic guitar, harmonica); Shawn Phillips (electric guitar, 12-string guitar).
Producers include: Eden, Stephens, Terry Kennedy.
Personnel: Donovan Philip Leitch (vocals, guitar, banjo, harmonica); Shawn Phillips (12-string guitar); Danny Thompson (cello); Harold McNair (flute); Brian Locking (bass); Skip Alan (drums).
Producers: Terry Kennedy, Peter Eden, Geoff Stephens.
Q (2/02, p.122) - 4 stars out of 5 - "...Confident, with the cinematic allusions of 'The Summer Day Reflection Song' and the surrealist word-pictures of 'Sunny Goodge Street' still sending shivers up the spine..."s Fairytale Review
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Purchase Fairytale CD To buy, Click on price to add to cart | Dirty Three In The Fishtank CD (2004) Extended Play
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In late 1999, the Dutch label KonKurrent invited Minneapolis band Low into an in-house studio to record one of the label's near-legendary In the Fishtank sessions; bands have two days to record between 20-30 minutes of all new material of their choosing. Also touring at the time were Low's pals, the Australian instrumental dynamos the Dirty Three. Low invited them in, and in the same collaborative spirit as another In the Fishtank session involving Tortoise and the Ex, this half-hour session is the document. What is truly amazing about this hookup is how natural these two bands sound playing with one another. Low has been striking out lately, playing different kinds of material while keeping its signature slower-than-slow approach to songwriting. The Dirty Three has taken a more melodic and dynamically restrained tack since their landmark Ocean Songs recording of a few years back. Of the six songs recorded here, none is more successful that the nearly ten-minute cover of Neil Young's "Down By the River." Mick Turner's trademark guitar style opens the work with lots of brush and cymbal work. It's ...
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On A Few Miles from Memphis, recorded by pianist Harold Mabern in 1968, he's joined by tenors George Coleman and Buddy Terry, bassist Bill Lee, and drummer Walter Perkins for a bluesy, rhythm-filled set featuring familiar fare like "A Treat for Bea" and fun originals like "Walkin' Back." There's also the odd inclusion of "There's a Kind of Hush," a pop song that comes out sounding like an old standard here. ~ Ronnie D. Lankford Jr.
When record labels like Prestige release two albums on one CD, it's a great bargain for music fans. A Few Miles from Memphis combines the album of the same name and Rakin' and Scrapin', both recorded by pianist Harold Mabern in 1968. On the first set he's joined by tenors George Coleman and Buddy Terry, bassist Bill Lee, and drummer Walter Perkins for a bluesy, rhythm-filled set featuring familiar fare like "A Treat for Bea" and fun originals like "Walkin' Back." There's also the odd inclusion of "There's a Kind of Hush," a pop song that comes out sounding like an old standard here. The second set includes a similar setup but inserts trumpeter Blue Mitchell into the lineup and brings ...
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Raven presents the very best of Solomon Burke's recordings for MGM in the 1970s, many on CD for the first time. A pioneering soul singer, Burke's powerful voice and fervent emotionality were much-admired through the 1960s. At MGM, with arranger Gene Page, Solomon deftly crafted a commercial and contemporary sound - both urban pop ballads and rhythmic hymns to black empowerment, all framed around his impassioned voice. Using fractured, multi-layered background vocals (a la Marvin Gaye), and deep vocals not unlike Barry White, Burke created, over three albums, some of his most powerful, distinctive and important work. This 22-track compilation culls the essence of Burke's MGM albums and includes three rare non-LP tracks.
Raven's That's Heavy Baby gathers 22 Solomon Burke rarities he recorded for MGM between 1971 and 1973, following his career-defining soul hits for Atlantic in the '60s. During his brief stint with the label, Burke produced two enjoyable soul/gospel/country-inspired ...
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Raven's 2006 two-fer Nutbush City Limits/Feel Good combines two of Ike & Tina Turner's last albums together and adds five bonus tracks, three of which were taken from other Ike & Tina albums from the early '70s, one taken from a Tina solo record, and one disco mix of "Nutbush City Limits." The album that arrives first on this two-fer was actually the last of these two to be released: Nutbush City Limits appeared in 1973, a year after Feel Good, but its title track is one of Ike & Tina's best-known songs so it's an appropriate choice to kick off this disc. Besides, the two records are so similar in tone and approach, it'd be easy to assume that Feel Good arrived before Nutbush, but that isn't to say they're interchangeable. Both records are hard day-glo funk, overloaded with fuzz guitars, wah wahs, clavinets and horn sections, but of the two, Nutbush City Limits is a bit closer to gritty deep soul thanks to a slow-burning cover of Dobie Gray's country-soul classic "Drift Away," the gospel-fied "That's My Purpose," a churning, funky reworking of "You Are My Sunshine," and, of course, the hard-driving title track, which mythologizes Tina's country upbringing. Of course, "rootsy" in this ...
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Many of the legends of acoustic guitar in the 20th century have already passed on -- John Fahey, Robbie Basho, Ali Farka Toure. Due partially to his spare recording career, Peter Walker's own reputation has not always been as well known as those of said giants, but his own influence has been considerable. A Raga for Peter Walker -- a tribute album that, in a nice touch, not only consists of work composed by its contributors rather than simply offering up covers but also features some original work by its subject in question -- helps to demonstrate this while he is still here to receive acknowledgement of it. Walker's four originals, all new tracks, bookend the collection, each brief but demonstrating ...
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