Customer Reviews

Sunshine Superman

5 star:		(17)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

Like many releases by British artists in the 60s, there were two versions of this: one UK and one US. The information I could gather on this is a bit confusing and conflicting. Piecing together what I found, I offer this to help alleviate (and hopefully not compound) the confusion: I believe that the version with the song sequence listed on this page is the original US version, released September 1966. Very early in 1967, shortly before the release of the US "Mellow Yellow" album, a UK album entitled "Sunshine Superman" was issued that combined songs from both of these US records. This UK release omitted "Ferris Wheel" and "Fat Angel" and included five songs from the "Mellow Yellow" LP: "The Observation," "Writer In The Sun," "Hampstead Incident," "Sand And Foam" and "Young Girl Blues." In any event, the album listed on this page is the one I've had for years, and it's the one I'll review. (Issued much later were a couple of compilations also called "Sunshine Superman." Don't bother with those.)

We begin with "Sunshine Superman," which smiles in blurry, dreamy, tropical-beach sunlight while beneath, exotic undercurrents pulsate and groove. It was released as a single and became the first of many hits. Next, a fairy tale called "Legend Of A Girl Child Linda" is presented, complete with a princess. It teeters for a bit between minor chords before moving to major, giving it sparkle, only to resolve back to minor again. This progression gives this song the most magical and wistful of moods. No words can describe how gorgeous it is (nor how enchanting). The song structure is somewhat unique: there is no chorus or bridge and the verses are separated by short instrumental interludes of tasteful imagination and delicacy. The percussion here is quite understated, true for the majority of the album. (This magical album doesn't "rock," it meditates.) Hand drums are used...I believe they're bongos, not tablas. "Legend" seemingly lasts forever, but that's not nearly long enough. As it ends, I sigh.... On to "Three King Fishers" - another trance-inducing marvel. The rhythm ceases on the chorus and Donovan's voice, matched by the sitar, embraces an exotic Middle Eastern scale. (Perhaps the first rock tune ever with this scale?) Hypnotic. The sitar twangs gently and beautifully; one of the most peaceful songs I've ever heard. We've been in a state of nirvana for two songs now, and "Ferris Wheel" keeps us there. Then comes the cosmically jazzy "Burt's Blues," the mystically groovy "Seasons Of The Witch" and the grooviest of all, "The Trip," which shu-shu-shuffles along while Donovan colorfully paints his uniquely psychedelic imagery. When I haven't listened to this album for a while, I sometimes forget how gorgeous "Guinevere" is: pensive, dark...haunting beyond belief. "Fat Angel" and "Celeste" are also meditative wonders. These songs offered the essence of `67 in 1966.

Here is an album that fits the bill as one of my favorites, a record that easily falls within my top five of all time. Donovan, the ever-youthful romantic, was indeed prophetic. This album, filled with enigmatic innocence, is definitively psychedelic. And considering that the title track was recorded as early as 1965, we have much to ponder in terms of who really ushered in the psychedelic movement.

In light of the wonderful reviews on this page, it should be obvious that the album at hand means a great deal to us. But through the years, Donovan has been unjustly served by the so-called music critics (the pros who have consistently failed us). Had these self-professed authorities done their job, there'd be no reason for these customer-review pages other than self-expression. Donovan was a much-loved artist in the 60s. In those days, he was respected by oodles of recording artists. In 1965, Donovan won a Beat Instrumental's Gold Star Award for Best Folk Guitarist, beating out such artists as Pete Seeger, Joan Baez and Bob Dylan. There are many people who still love the fabulous and inimitable Donovan. If you love the music of the 60s (a time when people weren't ashamed of nonviolent emotions), please...please do yourself a favor and get this magical treasure piece. Its inherent spells will never wear off!
Cheers,
Murray

'Sunshine Superman' came out around the beginning of one of the most experimental periods in rock history, a period that also spawned (right around the same time) the Beatles' 'Revolver', Dylan's 'Blonde On Blonde', Simon & Garfunkle's 'Parsley, Sage, Rosemary & Thyme', the Byrds' '5D', and the Stones' 'Aftermath'.
Jagger and Richards' "Lady Jane" could have fit very nicely on Donovan's album if a few words were changed here or there.

Donovan's contribution was right up there with the best of them. He utilized the combination of sitar and tablas more extensively than the rest of these groups/artists, and also included on several of his numbers a generous helping of medieval-renaissance sound, as well as seamless fusions of these with each other and with more customary blues, folk, and soft rock. It's pretty much all very sophisticated, tuneful, and deeply inspiring.

I won't dwell on "Sunshine Superman" the single, or on "Season of the Witch", as both have received more than their fair share of airplay over the years. Here are evaluations of the best of the others.

"Legend of the Girl Child Linda": I had a friend who during our high school years used to listen to this song every night before he went to sleep. It's a fairy tale, or a collection of them, made into a medieval/renaissance sounding song, with acoustic guitar, string quartet, harpsichord, clarinet (also oboe?) and bells providing the accompaniment.

"Three King Fishers": cosmic romanticism, with distinctly eastern flavors, and smacking of tales of the Arabian Nights as well, using acoustic guitar, sitar and tablas in a minor mode to achieve its air of mystery. "Oh, I dreamed you were a jewel, sitting in golden crown on my head." The title may be a play of words on the Fisher King [from the Grail legends].

"Ferris Wheel" is somewhat similar, but in a major mode (uplifting, not as dark); using sitar, tablas and electric bass. This one tends to fly me to North Africa.

'Bert's Blues', starts out as rather traditional, jazzy-sounding blues (acoustic guitar and acoustic bass with little harpsichord licks) with lyrics to match. But half way through, things flip into a long 'b' section that at first seems like it's only a bridge. This is highly unusual as it's still using kind of a blues scale, and blues rhythm, but harmonically goes into a space-time zone that's very much like the "Girl Child Linda", only much darker (this, after all, being the 'blues'). Check out some of the lyrics:
"Fairy castles, stark and black in the moonlight-
The jingle jangle jester rides his stallion.
Seagull rides across my eyes forever-
Sadly goes on his way to Hades."
and:
"Lucifer calls his legions from the hillside . . ."
The instrumental accompaniment during this during this long section is all string quartet. The breaks are solo harpsichord, then string quartet with clarinet playing the lead. The song ends up back on the 'a' section [the blues] again.

"Guinevere": more medieval-renaissance soft rock; but with tasteful fusion provided by sitar and tablas; lyrics are Donovan's imaginative take on the Arthurian legends.

"The Fat Angel": more raga rock from its true master (here, using tablas, sitar, acoustic guitar, electric bass). The line "fly Jefferson Airplane, gets you there on time", provided a name for one of the many budding San Francisco bands. I wonder if Trans-Love Energies, which later evolved into the White Panther Party, also took their name from the line "fly Trans-Love Airways, gets you there on time"? I guess I'll have to ask John Sinclair sometime.

"Celeste": A very stirring song, which in some kind of circuitous, subconscious way reminds me of Joni Mitchell's "Cactus Tree". Strings, organ, drums (played very softly) bass, sitar, harpsichord. This has always been one of my sixties emotional anthems.

Let's put an end to all the chatter. Despite what "knowledgeable" reviewers and so-called "music" critics have to say, Donovan was as important an artist to us as the Beatles, Dylan, or anyone else. I speak as one who experienced the era. Those who call his style "hippy trippy pop" know nothing. Truth is, Donovan wrote some great rock songs as well as his much-loved folk songs. His rock style was fresh and innovative and unique (Hurdy Gurdy Man, with Jimmy Page; or Sunshine Superman). He wasn't afraid to experiment, or cross over into other styles such as jazz. (He was one of the first to blend jazz and rock- Mellow Yellow, The Observation, Barabajagal- with Jeff Beck). Donovan's voice and poetic lyrical phrasing were the key ingredients whatever style he chose. But most importantly, Donovan made us feel, and sense, and wonder- the true measure of the man. And for everyone looking for "Mellow Yellow" on cd, look closer. The album is not out, but you can find most, if not all, of the songs. On "Troubador" there's Mellow Yellow, Writer in the Sun, Sand and Foam. On "Sunshine Superman"- the Import- you'll find Young Girl Blues, The Observation, and perhaps Donovan's greatest, yet unheralded and largely unknown work- Hampstead Incident. Those critical of Donovan undoubtedly never heard these selections, or any of his other great writings. Instead, they've based their opinion on the few "pop" records he did make. In summary, I say that Donovan was one of the few inspirational, innovative, and influential singer-songwriters of any era.

Just thought I'd mention that the Bert of "Bert's Blues" is Bert Jansch, who was a big influence on just about all British guitarists of the period.

Donovan's gentle 60s lyricism may be out of fashion in this age of plastic disposable pop and gangsta rap, but all his early albums are still worth listening to if you like real music.

PS There is now (2005) a new remastered and expanded version of this album available. Get that instead.

This Donovan album is his "white album". Its the defining album of Donovans career and Celeste is the greatest song I have ever heard. It is a pure gem both lyrically and instrumentally. Its a shame no sample of the song is given here. If it were it would be enough for you to buy the album without a seconds thought. It's pure art in music. If you ever get the chance to see Donovan its well worth the ticket price. I'm in my twenties and I love his music. I grew up with my father playing this album all of the time. I have great memories of this album and I hope you get it so Donovan's art can touch you and your children as it has touched me.

Through my childhood, teen years, and most of my adulthood, I
was under the impression that DONOVAN was pretty much about
bubblegum music(sorry about that Mr.Leitch). Now, in my middle-
age, of all places, I find that this talented musician is a
master of psychedelica, right up there with SYD BARRETT, early
PINK FLOYD, and other of my favorites. Heres to him. I wish I
had discovered all this great music earlier in life. But not to
worry, I'm making up for lost time, buying all I can get my
hands on by this guy. I find that this release is a very good
one, and for '66, well before it's time. There is not a bad
song on this c.d. I did not give it a fifth star due to the lack
of information on the packaging, and I think that in this day
and age, they could have done more with the sound production quality.
Thanks and keep on keepin' on,
Tom

Donovan re-recorded some old hits "Season of the Witch" and "Sunshine Superman" and cut some new songs for this independent label release. The result is a pleasant, but inconsequential, effort.

This was 1984 and this was titled: Lady of the Stars. The title/tracks has been farmed out to at least 10 other independent labels and has been re-released at least that many times. Sunshine Superman, Forever gold, Sunshine Superman [Remember],Golden Tracks, Till I See You Again, Gold, Golden Hits, Forever Gold, Sunshine Superman [Retro] (not to be confused with Donovan's fine 1966 release of the same title), and Sunshine Troubadour

Note: Intercontinental's Golden Hits is a budget-priced collection of re-recordings of such hits as "Lady of the Stars," "Season of the Witch" and "Sunshine Superman." While these versions are adequate, fans would be advised to stick to the original versions, which are available on marginally more expensive, but much better collections.

This is NOT a 5 star rated album! Save the money, don't be fooled and stick with Donovan major albums.

uck.....

Thank you [...] for doing some or all the heavy lifting, I bow to your efforts.

While I agree that Dylan's genius made it hard for Donovan, the "classic" scene in "Don't Look Back" didn't quite play out that way. If you listen carefully, when Donovan finishes his song and hands the guitar to Dylan, he asks him to play "It's All Over Now, Baby Blue," and Dylan responds, "You want to hear that song?" He did not "lay it on him," but simply honored his request.

Truly, in my own humble opinion this is one of Donovan's greatest albums.

Forget what all the music critics would have you believe about his music being one dimensional or even dated or not holding up well over the years.

The majority of Don's music is pretty good but this album, which was one of the few albums almost everyone growing up in the Sixites had, "Open Road" (which for one reason or another has not seen the light of day on CD, let alone remastered), "Barabajagal" and "A gift from a flower to a garden" are simply the best.

This is of course written about the remastered Import version on BGO records and not the original US/Epic records release. Songs like "Season of the Witch", "Sunshine Superman", "Writer in the sun" and "Three Kingfishers" are of exceptional sound quality with the remastering treatment that was done to preserve the legacy that was Donovan at the time to be past on.

I would highly recommend this to anyone, especially if you have children! But that is not a prerequsit.

This is one of the more evocative records in my collection. Many of the tunes benefit from the lush string and harpsichord adornments that, some of the more pop'n'roll tracks aside, conjure a misty, medieval feel. I was a little curious as to the editorial comment from Roy Francis Kasten with reference to the Pennebaker film 'Don't Look Back'. For a kickoff, it was Donovan who requested that Dylan play 'It's All Over Now, Baby Blue' as opposed to it being a pointed 'put down' on Dylan's behalf. As for the metaphorical disappearing into the wallpaper, maybe that was part of the DVD special features 'cos I don't recall it.