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The Autobiography of Donovan: The Hurdy Gurdy Man
Donovan's autobiography charts his life from a post-war, Glaswegian childhood to the height of an international career as one of the leading figures of the 1960's music scene. Always feeling like an outsider, he found relief through music and poetry. The book reveals how he came to be influenced by Buddhist teachings, and the music of Woody Guthrie and Joan Baez. The book explores the significance of falling deeply in love with the woman who was to become his muse, and the profound sense of loss he felt when their relationship came to an end, and how the loss affected him both personally and creatively. A leader of the folk revival in both Britain and America, the book recounts how he rose to be an international star, releasing songs such as "Mellow Yellow" and "Catch the Wind", and his most successful album, "Sunshine Superman". Donovan is acknowledged as one of the most significant cultural icons of the 1960's. The book provides a frank account of his early experiments with drugs and his search for self. He reveals the story of how he developed friendships with Baez, Dylan and the Beatles, with whom he a shared spiritual sojourn to meditate with the Maharishi in India. Donovan's autobiography offers first-hand insights into his music and poetry, recollects his rise to fame and the way in which destiny was to play a hand by re-uniting him with the lost love of his life through a chance meeting.
320 pages, Paperback
First published January 1, 2005
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188 people want to read
About the author
Donovan
70 books8 followersDonovan (born Donovan Philips Leitch) is a Scottish singer, songwriter and guitarist.
https://en.wikipedia.org/wiki/Donovan
https://en.wikipedia.org/wiki/Donovan
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Displaying 1 - 30 of 63 reviews
October 23, 2007
i'm not going to lie, i could care less about how much this guy loves his shirt. i'd never take donovan seriously, and i bought this for my wife for xmas, she's quite the fan. i read it for the hell of it. and...well, i really enjoyed it. i never knew much about his early career or all the things that he accomplished at such a young age. yeah, not the biggest donovan fan ever, and there's lots of ego stroking going on but after reading the book i decided to take a crack at sunshine superman (the book makes it sound like a complete masterpiece) and you know what? it's a great fuckin' record.
June 3, 2011
Clearly it was time for a biography to be written about Donovan. And since nobody else was going to do it, Donovan had to shoulder that burden himself.
At best Donovan’s memoir captures the Zeitgeist of the sixties straight from the horse’s mouth, in his own clumsy yet earnest, somewhat-stream-of-consciousness style. Sure, his dialect is embarrassingly beatnik at times, but what else would you expect from the man who gave us Mellow Yellow? It feels like the genuine artifact; i.e., the gawkishness of the writing is evidence that it’s probably not ghostwritten. And the book offers many laughs—some deliberate, though more often they are the unintended byproducts of his God-given hubris and bad prose-poetry.
At its worst, it’s unabashedly self-aggrandizing, rife with typos, and indiscriminately preachy. The scope of Donovan’s influence on music and the world at large is—according to him—too vast to enumerate. But for humor’s sake, let’s list a few of the things Donovan gifted the universe with: inventor of psychedelia and Celtic rock, first use of the sitar on a Western stage, Andy Warhol’s banana cover for the Velvet Underground, the experimental use of horns on Sgt. Pepper, first to feature the electric violin, the catchphrases “Flower Power” and “Love, Love, Love,” world music as we know it.
Throughout the book, you have to wonder at the veracity of the portrayal. Sure, everyone’s entitled to a perspective, but Donovan seems to completely forget his likely audience, pointing out the obvious or reinventing it. His need to convince the reader of the novelty and significance of his music—not to mention lifestyle, philosophy, and theology—verges on pathetic, especially considering that most people reading his autobiography are probably already fans to begin with. The entire book reads as a study in how underrated he was, and yet he manages to effortlessly rank himself among The Beatles, Bob Dylan, and The Rolling Stones in terms of influence. By the end of the novel (because that’s what it is, truly), Donovan comes to the conclusion that he must forsake the evils of fame and fortune for true love and a simpler life. Hence his decision to drop out of the music world in 1970, and the book comes perfectly full-circle. Of course, a quick Allmusic.com search brings up a slew of widely unpopular albums and tours stretching from 1970 to the present…
But let’s cut him some slack. Ok Donno, maybe Bob Dylan wasn’t making fun of you in “Don’t Look Back.” Maybe John Lennon didn’t come to see your show because he was reluctant to let Beatlemania steal any of your thunder. Or MAYBE he just thought you were a total dork, like most everyone else did.
But you know what, Donovan? You ARE a total dork, and that’s why I love you. And somehow the essence of that fact—and the idea that only a man with a little moondust in his brain could compose such stirring music about mermaids, fairies, and staying groovy—still shines through. And that’s why I can’t give this book less than 3 stars: one for being—in his writing if not his facts—shamefully honest, one for adapting the book as a love story (awwww), and one for ending the story in 1970.
OK, and maybe a half-star for resembling Bilbo Baggins.
At best Donovan’s memoir captures the Zeitgeist of the sixties straight from the horse’s mouth, in his own clumsy yet earnest, somewhat-stream-of-consciousness style. Sure, his dialect is embarrassingly beatnik at times, but what else would you expect from the man who gave us Mellow Yellow? It feels like the genuine artifact; i.e., the gawkishness of the writing is evidence that it’s probably not ghostwritten. And the book offers many laughs—some deliberate, though more often they are the unintended byproducts of his God-given hubris and bad prose-poetry.
At its worst, it’s unabashedly self-aggrandizing, rife with typos, and indiscriminately preachy. The scope of Donovan’s influence on music and the world at large is—according to him—too vast to enumerate. But for humor’s sake, let’s list a few of the things Donovan gifted the universe with: inventor of psychedelia and Celtic rock, first use of the sitar on a Western stage, Andy Warhol’s banana cover for the Velvet Underground, the experimental use of horns on Sgt. Pepper, first to feature the electric violin, the catchphrases “Flower Power” and “Love, Love, Love,” world music as we know it.
Throughout the book, you have to wonder at the veracity of the portrayal. Sure, everyone’s entitled to a perspective, but Donovan seems to completely forget his likely audience, pointing out the obvious or reinventing it. His need to convince the reader of the novelty and significance of his music—not to mention lifestyle, philosophy, and theology—verges on pathetic, especially considering that most people reading his autobiography are probably already fans to begin with. The entire book reads as a study in how underrated he was, and yet he manages to effortlessly rank himself among The Beatles, Bob Dylan, and The Rolling Stones in terms of influence. By the end of the novel (because that’s what it is, truly), Donovan comes to the conclusion that he must forsake the evils of fame and fortune for true love and a simpler life. Hence his decision to drop out of the music world in 1970, and the book comes perfectly full-circle. Of course, a quick Allmusic.com search brings up a slew of widely unpopular albums and tours stretching from 1970 to the present…
But let’s cut him some slack. Ok Donno, maybe Bob Dylan wasn’t making fun of you in “Don’t Look Back.” Maybe John Lennon didn’t come to see your show because he was reluctant to let Beatlemania steal any of your thunder. Or MAYBE he just thought you were a total dork, like most everyone else did.
But you know what, Donovan? You ARE a total dork, and that’s why I love you. And somehow the essence of that fact—and the idea that only a man with a little moondust in his brain could compose such stirring music about mermaids, fairies, and staying groovy—still shines through. And that’s why I can’t give this book less than 3 stars: one for being—in his writing if not his facts—shamefully honest, one for adapting the book as a love story (awwww), and one for ending the story in 1970.
OK, and maybe a half-star for resembling Bilbo Baggins.
July 11, 2017
The Hurdy Gurdy Man by Donovan I found an absorbing, always interesting book to read. Needless to say, you need to like his songs to like his book. Before I bought it, I read some of the reviews of it on Goodreads and Amazon and was puzzled to read some reviewers complain that it was full of typographical errors. The book was published by Arrow Books, which is part of the Random House Publishing Group, so it would have been read by proof readers and editors before it was published, which is why the complaints in some reviews of typographical errors puzzled me. Now that I have read the book I would like to say in its defence that it contains no typographical errors at all. In Childhood, the first chapter of his book, in which he writes of his childhood in Glasgow, Scotland, Donovan decided to write as he spoke then, in Glaswegian dialect. So he writes 'oot' instead of out, 'efter' instead of after, 'windaes' instead of windows. 'Oor wee battle over, we climbed the wae intae a ruined tenement - against the rules' he writes, using some Glaswegian dialect words. In plain English that same sentence reads: 'Our little battle over, we climbed the wall into a ruined tenement - against the rules." Donovan's use of Glaswegian dialect words is confined to the first chapter, his memories of when he was eight, living with his mother, father and elder brother in a tenement in Glasgow, playing among the bombed ruins left behind by World War 2. From Chapter Two, titled Teenage, in which he records his time living with his family in Hatfield, Hertfordshire, in the south of England, from the age of ten, onwards, he writes in plain English with the occasional use of Beatnik slang words. So what some reviewers of the book read as typographical errors are really Donovan's use of Glaswegian dialect and Beatnik slang words.
Now that I am sixty five, I find myself looking back at times on my past. In particular, I have been listening to the songs I liked when I was a teenager in the 1960's. I am pleased to say that the songs I liked then by The Beatles, Neil Young, Leonard Cohen, Simon and Garfunkel, the Incredible String Band, Fairport Convention, Bob Dylan and, among others, Donovan, have stood the test of time. After listening to some of Donovan's songs, I decided to buy his autobiography and I am glad I did. His prose is clear, direct, like his lyrics, a pleasure to read. His story brought back many happy memories. He writes of his first appearance on Ready Steady Go on British television on the 30th January, 1965. At the time he was eighteen and had been recently living as a Beatnik on the beaches of Cornwall. I remember seeing him on Ready Steady Go, introduced by Cathy McGowan, very well. In those days, there were only two channels on British television, the B.B.C. and Granada. While the B.B.C. had the pop music programme, Top of the Pops, Granada had Ready Steady Go. Donovan stood out on Ready Steady Go because he was a solo folk singer, alone on stage with his acoustic guitar and harmonica. All of the other performers were pop groups.
It was interesting to read of how the documentary A Boy Called Donovan was made, which I watched when it was shown in 1966. What matters about Donovan is his songs and I was glad that he wrote in his book how he was inspired to write some of them. It was interesting to read his version of what happened when he met Bob Dylan and took part in the documentary, Don't Look Back, and what happened when he went to India in 1968 with The Beatles to study Transcendental Meditation. At the heart of the book is a love story, the tale of how he met and eventually married his wife, Linda.
Some reviewers of the book complained that Donovan blows his own trumpet in it too often and too loudly, boasting that he started this and that movement in music in the 1960's. I just smiled through it all. Having a sense of humour gives you a sense of proportion. Certainly, I remember when listening to The Beatles, the double album released by The Beatles in 1968, which even they refer to as the White Album, that I thought some of the songs on it, namely Dear Prudence, Julia, Mother Nature's Son, and Blackbird, showed the influence of Donovan. Most of the songs on the double album were written in India. It was Donovan who taught John Lennon the folk guitar finger picking style, which can be heard in his songs, Julia and Dear Prudence.
Catch the Wind, Turquoise, Colours, Sunshine Superman, There Is A Mountain, Jenifer Juniper, Hurdy Gurdy Man, Atlantis, Goo Goo Barabajagal, were all great singles from Donovan during the 1960's. All of them he writes of in his book. I was interested to read of how he came to write the songs on A Gift From A Flower To A Garden, the double album which my friends and I listened to a lot at the time. Listening to it now, it is the songs on the second record of the double album which have stood the test of time best for they are about timeless things, the changing of the seasons, birds, the sea shore, dreams. Songs like Isle of Islay, The Magpie, The Tinker and the Crab, Lullaby of Spring, and Widow With Shawl, which are on that second record, are some of the best songs he ever wrote, I think. I am glad that he writes in his book that the sea gull is his totem bird for no songwriter has ever mentioned sea gulls in their songs as much as he has. Turquoise begins with the line: "Your smile beams like sun light on a gull's wing," for example.
I did see Donovan in concert in Newcastle City Hall in the early 1980's. He sat on a chair and sang his songs with his acoustic guitar with Danny Thompson, who used to be in Pentangle, playing double bass behind him. Of course, it was all about nostalgia, for his time was between the years of 1965 and 1970. "This is the first song I ever wrote," he said, as he introduced Catch the Wind.
Donovan is seventy one now and I think his book deserves five stars simply for the pleasure he has given me and many others through his songs since 1965.
Now that I am sixty five, I find myself looking back at times on my past. In particular, I have been listening to the songs I liked when I was a teenager in the 1960's. I am pleased to say that the songs I liked then by The Beatles, Neil Young, Leonard Cohen, Simon and Garfunkel, the Incredible String Band, Fairport Convention, Bob Dylan and, among others, Donovan, have stood the test of time. After listening to some of Donovan's songs, I decided to buy his autobiography and I am glad I did. His prose is clear, direct, like his lyrics, a pleasure to read. His story brought back many happy memories. He writes of his first appearance on Ready Steady Go on British television on the 30th January, 1965. At the time he was eighteen and had been recently living as a Beatnik on the beaches of Cornwall. I remember seeing him on Ready Steady Go, introduced by Cathy McGowan, very well. In those days, there were only two channels on British television, the B.B.C. and Granada. While the B.B.C. had the pop music programme, Top of the Pops, Granada had Ready Steady Go. Donovan stood out on Ready Steady Go because he was a solo folk singer, alone on stage with his acoustic guitar and harmonica. All of the other performers were pop groups.
It was interesting to read of how the documentary A Boy Called Donovan was made, which I watched when it was shown in 1966. What matters about Donovan is his songs and I was glad that he wrote in his book how he was inspired to write some of them. It was interesting to read his version of what happened when he met Bob Dylan and took part in the documentary, Don't Look Back, and what happened when he went to India in 1968 with The Beatles to study Transcendental Meditation. At the heart of the book is a love story, the tale of how he met and eventually married his wife, Linda.
Some reviewers of the book complained that Donovan blows his own trumpet in it too often and too loudly, boasting that he started this and that movement in music in the 1960's. I just smiled through it all. Having a sense of humour gives you a sense of proportion. Certainly, I remember when listening to The Beatles, the double album released by The Beatles in 1968, which even they refer to as the White Album, that I thought some of the songs on it, namely Dear Prudence, Julia, Mother Nature's Son, and Blackbird, showed the influence of Donovan. Most of the songs on the double album were written in India. It was Donovan who taught John Lennon the folk guitar finger picking style, which can be heard in his songs, Julia and Dear Prudence.
Catch the Wind, Turquoise, Colours, Sunshine Superman, There Is A Mountain, Jenifer Juniper, Hurdy Gurdy Man, Atlantis, Goo Goo Barabajagal, were all great singles from Donovan during the 1960's. All of them he writes of in his book. I was interested to read of how he came to write the songs on A Gift From A Flower To A Garden, the double album which my friends and I listened to a lot at the time. Listening to it now, it is the songs on the second record of the double album which have stood the test of time best for they are about timeless things, the changing of the seasons, birds, the sea shore, dreams. Songs like Isle of Islay, The Magpie, The Tinker and the Crab, Lullaby of Spring, and Widow With Shawl, which are on that second record, are some of the best songs he ever wrote, I think. I am glad that he writes in his book that the sea gull is his totem bird for no songwriter has ever mentioned sea gulls in their songs as much as he has. Turquoise begins with the line: "Your smile beams like sun light on a gull's wing," for example.
I did see Donovan in concert in Newcastle City Hall in the early 1980's. He sat on a chair and sang his songs with his acoustic guitar with Danny Thompson, who used to be in Pentangle, playing double bass behind him. Of course, it was all about nostalgia, for his time was between the years of 1965 and 1970. "This is the first song I ever wrote," he said, as he introduced Catch the Wind.
Donovan is seventy one now and I think his book deserves five stars simply for the pleasure he has given me and many others through his songs since 1965.
June 11, 2012
If we are to believe everything Donovan tells us in this book, then he invented the 60's, the beatles, the rolling stones, Dylan, LSD, marijuana, Ravi Shankar & the indian inspired music and fashion of the time and anything cool or ground breaking for the 60's. In fact he would lead us to believe that he was the forefront of every movement social, musical or otherwise that occurred from 1960's onward.
Yes Hurdy Gurdy Man is a cool song, but I'm hard pressed to remember any others. I wasn't there but I feel pretty confident that Donovan was probably a big thing for the first few months of 1964 then he faded into oblivion only to resurface to write this book to tell us that "man if you remember me and the 60's, then you weren't really there man!" Yeah good cover Donovan.
Yes Hurdy Gurdy Man is a cool song, but I'm hard pressed to remember any others. I wasn't there but I feel pretty confident that Donovan was probably a big thing for the first few months of 1964 then he faded into oblivion only to resurface to write this book to tell us that "man if you remember me and the 60's, then you weren't really there man!" Yeah good cover Donovan.
January 18, 2013
I admit it--I have always loved Donovan. Probably not surprising for those who know me well, I am a mass of personalities and one of them is definitely a hippie. I fell madly in love with Donovan when I was a little girl and they would play his videos on the defunct but fabulous MTV show (remember back before it was taken up with intelligence-sucking reality shows and they played music?)Closet Classics. I loved "Sunshine Superman" and "Atlantis" and of course "Mellow Yellow". He was a cute little hippie with a Scottish accent--what's not to love? As I got older I explored his music further and continued to be a fan. He's not for everyone, I suppose--and definitely not for the "I am oh so cool and cynical" types--he's a total flower child--optimistic and sweet. After reading this I am pleased to say he has not changed that.
This is a very engaging and informative autobiography. It's also a really good way to set the record straight. Donovan has gotten a really raw deal. His musical importance has been overshadowed by both the Beatles (whom he was friends with) and Bob Dylan(he was also friendly with Dylan) and because he left the business fairly young to follow a more spiritual path and raise his kids. He also lived a more healthy lifestyle and did not let ambition rule his life. He does come off a bit self-aggrandizing at times--only slightly and I believe that part of that is due to being treated as a piece of fluff by many in the musical community and of course among the vultures of the journalism business. He did do many things first that more famous musicians did later and I suspect anyone would get tired of seeing things they did first heralded by the world as revolutionary when done by others. What is amazing about this is that the very people he's accused of imitating or riding the coattails of, have come forward themselves to give him credit including the Beatles, Joan Baez and Bob Dylan. I personally am not a fan of Dylan (he is compared to Dylan most of all)--I never have been--I can admit to his song writing ability but I would rather be tied to a chair and beaten with a rubber hose than forced to listen to his nasal whining and I think he is incredibly overrated. But even Dylan himself has gone on record to say he liked Donovan, learned things from Donovan and gave Donovan his due. He released many critically acclaimed albums in the last decade and was involved in many of the big and important music festivals during the 60's. He's had a long and strong marriage and raised his children with his wife as well as her son by Brian Jones of the Rolling Stones. He's continued to write music and poetry. And he comes off as an overall nice guy.
I found that he loves many things that I also love--Pre-Raphaelite painting and style, antiques, nature, and Indian mysticism. He's also an accomplished guitar player and writer. He even lived in Gypsy caravans (another of my eccentricities--I want to own a caravan and my boyfriend has promised to build me one --thank goodness he's an accomplished woodworker and craftsman). Admittedly this makes me love him more. But even stepping aside from my personal fondness for him, he's a good writer--funny and with the gift of making you feel as if he's sitting around talking to you as a friend, but also explaining musical techniques and journal entries and owning up to his flaws. From reading some of the other reviews of this book I can see that his attempts to defend his contributions have not been totally successful, but there will always be those that have to run down others to make their own heroes sound bigger. I don't feel that need but I am glad to see that he's had the best revenge--a long, happy and art filled life.
This is a very engaging and informative autobiography. It's also a really good way to set the record straight. Donovan has gotten a really raw deal. His musical importance has been overshadowed by both the Beatles (whom he was friends with) and Bob Dylan(he was also friendly with Dylan) and because he left the business fairly young to follow a more spiritual path and raise his kids. He also lived a more healthy lifestyle and did not let ambition rule his life. He does come off a bit self-aggrandizing at times--only slightly and I believe that part of that is due to being treated as a piece of fluff by many in the musical community and of course among the vultures of the journalism business. He did do many things first that more famous musicians did later and I suspect anyone would get tired of seeing things they did first heralded by the world as revolutionary when done by others. What is amazing about this is that the very people he's accused of imitating or riding the coattails of, have come forward themselves to give him credit including the Beatles, Joan Baez and Bob Dylan. I personally am not a fan of Dylan (he is compared to Dylan most of all)--I never have been--I can admit to his song writing ability but I would rather be tied to a chair and beaten with a rubber hose than forced to listen to his nasal whining and I think he is incredibly overrated. But even Dylan himself has gone on record to say he liked Donovan, learned things from Donovan and gave Donovan his due. He released many critically acclaimed albums in the last decade and was involved in many of the big and important music festivals during the 60's. He's had a long and strong marriage and raised his children with his wife as well as her son by Brian Jones of the Rolling Stones. He's continued to write music and poetry. And he comes off as an overall nice guy.
I found that he loves many things that I also love--Pre-Raphaelite painting and style, antiques, nature, and Indian mysticism. He's also an accomplished guitar player and writer. He even lived in Gypsy caravans (another of my eccentricities--I want to own a caravan and my boyfriend has promised to build me one --thank goodness he's an accomplished woodworker and craftsman). Admittedly this makes me love him more. But even stepping aside from my personal fondness for him, he's a good writer--funny and with the gift of making you feel as if he's sitting around talking to you as a friend, but also explaining musical techniques and journal entries and owning up to his flaws. From reading some of the other reviews of this book I can see that his attempts to defend his contributions have not been totally successful, but there will always be those that have to run down others to make their own heroes sound bigger. I don't feel that need but I am glad to see that he's had the best revenge--a long, happy and art filled life.
November 16, 2012
I always thought Donovan got a raw deal in the endless comparisons with Dylan. I still think he is better. (They 'hung out' together quite a lot.) For anyone who was around in the 60s this is a great read. Donovan socialised or worked with just about any 'name' you can think of from those days of 'free love.' And Donovan got plenty of that too. The speed at which he moved from bumming around St Ives and learning guitar to releasing records and performing major gigs is amazing. Less than a year. I never realised how huge he was in the USA. Bigger than the UK.
A lot of the book reads as though Donovan is still smoking exotic substances. Much of his speech is straight from the flower power groovy chick era. But for me that just helped send me right back to those days. It's amazing to realise that he had done it all and quit the business by his early twenties.
It's a measure of any book if you are sad to reach the end. I was. Highly recommended to ageing hippies everywhere.
"Touching, illuminating and frank." New York Times.
"Entertaining and indisputably personal account." Mojo
"An unqualified delight." Observer.
"Spellbinding autobiography." Daily Mail.
"An extraordinary read." Daily Express
A lot of the book reads as though Donovan is still smoking exotic substances. Much of his speech is straight from the flower power groovy chick era. But for me that just helped send me right back to those days. It's amazing to realise that he had done it all and quit the business by his early twenties.
It's a measure of any book if you are sad to reach the end. I was. Highly recommended to ageing hippies everywhere.
"Touching, illuminating and frank." New York Times.
"Entertaining and indisputably personal account." Mojo
"An unqualified delight." Observer.
"Spellbinding autobiography." Daily Mail.
"An extraordinary read." Daily Express
August 12, 2025
I love Donovan's music and the book of poetry he wrote many years ago (Dry Songs and Scribbles) was brilliant. He writes very sweetly- his lyrics are beautifully and romantically structured.
But I was extremely disappointed in this book; as a long time fan of Donovan, I got no perspective into his journey into the creative process nor a new understanding of his relationship to music, writing or the people around him. Much of the book seems to be a listing of names ('we were at ... with- followed by a list of famous persons' names) with no substance as to why the friends were together. I had the feeling that someone was talking about a party with the admonition 'you had to be there to understand.'
I will continue to eagerly wait for his new music as I think has a real grasp of the poetry of romance. I did not find his genius to this autobiography.
But I was extremely disappointed in this book; as a long time fan of Donovan, I got no perspective into his journey into the creative process nor a new understanding of his relationship to music, writing or the people around him. Much of the book seems to be a listing of names ('we were at ... with- followed by a list of famous persons' names) with no substance as to why the friends were together. I had the feeling that someone was talking about a party with the admonition 'you had to be there to understand.'
I will continue to eagerly wait for his new music as I think has a real grasp of the poetry of romance. I did not find his genius to this autobiography.
April 5, 2021
Donovan's autobiography was quite the revealing read. Leaving home at 16 he scraped and got by doing odd jobs, sleeping outdoors at times, taking drugs and free to do what he wanted to do. He learned to play the guitar and became a super star with such songs as "Mellow Yellow", "Sunshine Superman", "Season of the Witch", etc...and goes on to meet the likes of Joan Baez, Dylan, The Beatles, etc...
He became interested in meditation and was party to the Beatles trip to India to study meditation with the Maharishi. While there, he taught Lennon his finger picking technique playing guitar with McCartney as an onlooker. but not an active participant. This led to such White Album songs as "Julia", "Dear Prudence", "Mother Nature's Son", and "Black Bird".
Donovan had a back and forth relationship with a woman named Linda, who had a child previously with Brian Jones of the Rolling Stones and this becomes the backbone of the book essentially.
Many hit albums and singles later Donovan drops out of the music scene to again "leave" the comforts of a safe life. He is quite the poet and really leaves nothing out in this autobiography which is what I expect out of one.
He became interested in meditation and was party to the Beatles trip to India to study meditation with the Maharishi. While there, he taught Lennon his finger picking technique playing guitar with McCartney as an onlooker. but not an active participant. This led to such White Album songs as "Julia", "Dear Prudence", "Mother Nature's Son", and "Black Bird".
Donovan had a back and forth relationship with a woman named Linda, who had a child previously with Brian Jones of the Rolling Stones and this becomes the backbone of the book essentially.
Many hit albums and singles later Donovan drops out of the music scene to again "leave" the comforts of a safe life. He is quite the poet and really leaves nothing out in this autobiography which is what I expect out of one.
August 17, 2008
I don't even care if this book sucks. Donovan rules!
Okay, I'm done with the book. It's lame. Donovan still made some great records, though.
Okay, I'm done with the book. It's lame. Donovan still made some great records, though.
May 21, 2012
When I first flipped through this book it looked fascinating, and I couldn't wait to find it used. Now I have no idea what I saw in it - it's a vapid, rather boring account of Donovan's rise to fame with a subplot of whether or not he'll reunite with Linda (Brian Jones' ex!), the girl he pushed away but who is is true love. Since I looked through the photos before I started it and saw pictures of their wedding, I ruined the suspense for myself and am ruining it for you. The early parts about his musical influences and how he learned technique from anyone who'd teach him are fairly interest but once he gets famous it's mostly name dropping. It's a pretty good picture of the rock scene of the 60s but it's not like the world was waiting for another of those.
Donovan had his first hit in 1964 when he was 18 or 19 and had a number of big hits after that, so he's been famous for most of his life, and it shows. He's very full of himself. The book is filled with asides that his was the first recording of a harpischord in a pop song, his song "Sunny Goodge Street" used the phrase "love, love, love" YEARS before the Beatles sang "All You Need Is Love", he put out a box set (which he designed!) TWO YEARS before George Harrison did, the term "flower power" was coined to refer to him, his session to record "Hurdy Gurdy Man" with John Paul Jones and Jimmy Page was what got them to form Led Zeppelin, etc., etc. Well Mama pin a rose on you! Also there's lots of descriptions of smoking dope and hash and of various dalliances with girls, resulting in a couple of kids, though it was Linda all along. Really.
I got a mild kick out of a mention of Bongo Wolf who was associated with P.J. Proby and was also a fringe character in LA science fiction fandom, where I grew up.
Besides all that, it's poorly edited with lots of spelling and continuity mistakes.
Donovan had his first hit in 1964 when he was 18 or 19 and had a number of big hits after that, so he's been famous for most of his life, and it shows. He's very full of himself. The book is filled with asides that his was the first recording of a harpischord in a pop song, his song "Sunny Goodge Street" used the phrase "love, love, love" YEARS before the Beatles sang "All You Need Is Love", he put out a box set (which he designed!) TWO YEARS before George Harrison did, the term "flower power" was coined to refer to him, his session to record "Hurdy Gurdy Man" with John Paul Jones and Jimmy Page was what got them to form Led Zeppelin, etc., etc. Well Mama pin a rose on you! Also there's lots of descriptions of smoking dope and hash and of various dalliances with girls, resulting in a couple of kids, though it was Linda all along. Really.
I got a mild kick out of a mention of Bongo Wolf who was associated with P.J. Proby and was also a fringe character in LA science fiction fandom, where I grew up.
Besides all that, it's poorly edited with lots of spelling and continuity mistakes.
March 19, 2019
This book was very good. I do not understand why it is that people think it improper for Donovan to tell of his accomplishments, for he does it in a straight forward way. And personally, I feel like no one else talks of them, so he has every right to do so.
I enjoyed the casual way he writes and tells his story, very beatnik.
I enjoyed the casual way he writes and tells his story, very beatnik.
July 20, 2010
a very interesting book by a great musician of the 60s, he simply reveals what his fans wish to know about his personal life and his song writing process... etc
April 17, 2023
As a part of my preparation for visiting Scotland, reading Donovan's autobiography is a pleasurable stroll through the folk, rock, jazz and new age music of the 1960s. As a young teen living in Europe in the 1960s, I heard Donovon's music played everywhere. An older, wiser Donovan describes the evolution of his personal style from age 16 to 24 years in the context of famous people, music and the times.
August 21, 2025
A mixed bag. I’m quite a fan of much of Donovan’s music and agree with him that he’s underrated and undervalued—but it’s a bit grating to read an artist making that case for himself. The UK title of the book—The Hurdy Gurdy Man—was more appropriate than the USA title because the book essentially ends at 1970. And St Martins Press clearly needed to do a better copy-editing job: too many gremlins and grammatical errors.
January 2, 2023
I thought this book was really cute, the love he has for his girlfriend/wife really warmed my heart up, as did his friendship with gypsy Dave. Definitely some ego stroking going on but I think he deserves to think highly of himself because he’s so great.
August 2, 2020
I’ve been a Donovan fan since high school—and got to meet him at a BookExpo America appearance—but never learned much about him and was pleased to run across this 2005 memoir. Well, the critics are right: The Hurdy Gurdy Man is mostly an irritating read. Donovan’s sloppiness—he repeatedly misspells names of famous people with whom he worked, for instance—doesn’t give one much confidence in the veracity of his anecdotes. He puffs up his 1965-68 musical encounters and friendships in ways too blithely self-aggrandizing to take seriously, depicting Britain and America as entirely in thrall to him for the second half of the 1960s. He casually takes full credit for any number of innovations and developments, from Celtic rock to elaborate stage shows, in which he played a minor role at best.
Worst—and the element, even more than the botched names, that makes the book seem unedited—Donovan has no feel for what might interest the reader. He spends pages and pages ruminating about his feelings for various women who flit in and out of his life. He drops dozens of boldface names—he really was at the center of the scene in London and Los Angeles for those years—but offers astonishingly little insight or even color into them: I mean, he hung out a lot with the Beatles at their creative zenith and gives us little beyond taking credit for teaching Lennon & McCartney how to fingerpick. Each notable drops into the memoir only to say something flattering about Donovan, and that’s it.
The reason we still care about Donovan is, of course, those deathless songs; he was a phenomenal melodicist with a clear, compelling voice. But even there, he focuses on the uninteresting parts, typing out the lyrics to even insipid ditties such as “There Is a Mountain” as though they were and remain deeply, soulfully meaningful to us. How did the lovely “Wear Your Love Like Heaven” happen? He doesn’t tell us.
One major caveat to answer the criticisms, and it doesn’t hit until the very end, when Donovan concludes the book by explaining his 1970 retreat from the music business (he kept recording until the early ’80s but had clearly run out of songs) and noting that he was only 24 when he dropped out. It hadn’t struck me at all—and he doesn’t mention—that Donovan was incredibly young through all of his memoir’s events. He was 18 when “Catch the Wind” and “Colours” made him a U.K. sensation. That scene in Dont Look Back with Dylan humbling Donovan by singing the superior “It’s All Over Now, Baby Blue”? It was right around Donovan’s 19th birthday. He wasn’t yet 20 when he recorded “Sunshine Superman” and only 22 when Donovan’s Greatest Hits was released. He had just turned 24 when he released his last real hit, “Barabajagal.” And all of this makes his self-important whimsy more forgivable. Alas, it still doesn’t make The Hurdy Gurdy Man a better read.
Worst—and the element, even more than the botched names, that makes the book seem unedited—Donovan has no feel for what might interest the reader. He spends pages and pages ruminating about his feelings for various women who flit in and out of his life. He drops dozens of boldface names—he really was at the center of the scene in London and Los Angeles for those years—but offers astonishingly little insight or even color into them: I mean, he hung out a lot with the Beatles at their creative zenith and gives us little beyond taking credit for teaching Lennon & McCartney how to fingerpick. Each notable drops into the memoir only to say something flattering about Donovan, and that’s it.
The reason we still care about Donovan is, of course, those deathless songs; he was a phenomenal melodicist with a clear, compelling voice. But even there, he focuses on the uninteresting parts, typing out the lyrics to even insipid ditties such as “There Is a Mountain” as though they were and remain deeply, soulfully meaningful to us. How did the lovely “Wear Your Love Like Heaven” happen? He doesn’t tell us.
One major caveat to answer the criticisms, and it doesn’t hit until the very end, when Donovan concludes the book by explaining his 1970 retreat from the music business (he kept recording until the early ’80s but had clearly run out of songs) and noting that he was only 24 when he dropped out. It hadn’t struck me at all—and he doesn’t mention—that Donovan was incredibly young through all of his memoir’s events. He was 18 when “Catch the Wind” and “Colours” made him a U.K. sensation. That scene in Dont Look Back with Dylan humbling Donovan by singing the superior “It’s All Over Now, Baby Blue”? It was right around Donovan’s 19th birthday. He wasn’t yet 20 when he recorded “Sunshine Superman” and only 22 when Donovan’s Greatest Hits was released. He had just turned 24 when he released his last real hit, “Barabajagal.” And all of this makes his self-important whimsy more forgivable. Alas, it still doesn’t make The Hurdy Gurdy Man a better read.
March 22, 2012
I picked this book up having been warned by another person on one of my reading challenges that Donovan's ego was running a bit wild. Still, having come of age on a lot of his music, I figured I'd give the book a chance.
Well, I have never read such blatant, self-aggrandizing rubbish in my life. In fact, I've hung out around musicians most of my adult life and have never heard such self-aggrandizing rubbish. He claims that he originated Celtic Rock, implies that Led Zepplin was formed because Bonham, Page, and Jones had worked together so well at a session for one of his albums, says that "flower power" originated at one of his concerts, claims he was a blues virtuoso at age 17, and all sorts of other rubbish. He slags Richie Havens for allegedly having no teeth when they met, and having dental work done to remedy that later on. He only admits to screwing up twice in the whole book -- once by letting the mother of his first two kids live with him, and once by letting the woman he really loved walk away (he does eventually marry her).
And the thing is much of this would have been vaguely tolerable if there had been any real self-analysis, or real reflection on his actions, or any evidence of growth.
I was so annoyed and upset by the book that I called my friend Marc, who shares much of my musical tastes. After listening to me, he noted that when this book came out, he had heard Donovan on Vin Scelsa's radio show, and had come to much the same conclusions from hearing the interview, but was glad that I was confirming his impressions.
In all honesty, and with great sadness, I cannot recommend this book. In fact, if the copy I read was not the property of the public library, I would have given it to the cat to pee on.
Well, I have never read such blatant, self-aggrandizing rubbish in my life. In fact, I've hung out around musicians most of my adult life and have never heard such self-aggrandizing rubbish. He claims that he originated Celtic Rock, implies that Led Zepplin was formed because Bonham, Page, and Jones had worked together so well at a session for one of his albums, says that "flower power" originated at one of his concerts, claims he was a blues virtuoso at age 17, and all sorts of other rubbish. He slags Richie Havens for allegedly having no teeth when they met, and having dental work done to remedy that later on. He only admits to screwing up twice in the whole book -- once by letting the mother of his first two kids live with him, and once by letting the woman he really loved walk away (he does eventually marry her).
And the thing is much of this would have been vaguely tolerable if there had been any real self-analysis, or real reflection on his actions, or any evidence of growth.
I was so annoyed and upset by the book that I called my friend Marc, who shares much of my musical tastes. After listening to me, he noted that when this book came out, he had heard Donovan on Vin Scelsa's radio show, and had come to much the same conclusions from hearing the interview, but was glad that I was confirming his impressions.
In all honesty, and with great sadness, I cannot recommend this book. In fact, if the copy I read was not the property of the public library, I would have given it to the cat to pee on.
July 23, 2021
This book has a fat chance to only appeal to the fans of Donovan! Please be aware.
I count myself to that, nowadays, fair little group.
Donovan writes the way he talks. Those of you who are familiar with his live shows(which I only seen on the Youtube)know what we are in for. The sorties given here are the same stories he tells als small intermezzo's during his perfomances.
It's always hard to tell fiction from fact with Don -i'd like to believe that all stories are true. There was a time when Donovan was on the frontiers op pop music and was hip and happening. The cream of the crop so to speak. A time of magic, peace and love.
I like the way he describes the road to fame. The thing that actual 'fame' was and the downside of it all and then.. the eventual decline.
What I pitty is that the story ends after 'Open Road'. Ofcourse. Most are here for the 60s and the anthems like Hurdy Gurdy Man, Atlantis, Barabajagal, Mellow Yellow, Wear Your Love Like Heaven, Catch the Wind.. but to me there is so much more.
I would have found it fantastic to read about the 70s and 80s as well. The story around HMS.. etc etc. There is so much more there that needs some light shedded on.
I count myself to that, nowadays, fair little group.
Donovan writes the way he talks. Those of you who are familiar with his live shows(which I only seen on the Youtube)know what we are in for. The sorties given here are the same stories he tells als small intermezzo's during his perfomances.
It's always hard to tell fiction from fact with Don -i'd like to believe that all stories are true. There was a time when Donovan was on the frontiers op pop music and was hip and happening. The cream of the crop so to speak. A time of magic, peace and love.
I like the way he describes the road to fame. The thing that actual 'fame' was and the downside of it all and then.. the eventual decline.
What I pitty is that the story ends after 'Open Road'. Ofcourse. Most are here for the 60s and the anthems like Hurdy Gurdy Man, Atlantis, Barabajagal, Mellow Yellow, Wear Your Love Like Heaven, Catch the Wind.. but to me there is so much more.
I would have found it fantastic to read about the 70s and 80s as well. The story around HMS.. etc etc. There is so much more there that needs some light shedded on.
April 7, 2021
I have been a Donovan fan since I heard him croon the most wonderful song (and my namesake) "Jennifer Juniper." I knew I was in love. Imagine the surprise that overcame me when I discovered that Donovan had written an autobiography. I just had to have it.
I was not disappointed. This is a fabulous look at the 1960's from a true bohemian point of view. Although some may not agree, he describes his influences and muse without being too pretentious. After all, he did spend a summer in St. Ives strumming his guitar. So what if he met and became friends with the Beatles and Dylan? It was part of his story, and something that we needed to hear.
All in all, this book is another example of self discovery, and a love story that spans decades. Now that I finished this memoir about the Hurdy Gurdy man, I know some of the stories behind the beautiful lyrics that I cannot seem to get out of my head. "I'm just mad about Saffron...."
I was not disappointed. This is a fabulous look at the 1960's from a true bohemian point of view. Although some may not agree, he describes his influences and muse without being too pretentious. After all, he did spend a summer in St. Ives strumming his guitar. So what if he met and became friends with the Beatles and Dylan? It was part of his story, and something that we needed to hear.
All in all, this book is another example of self discovery, and a love story that spans decades. Now that I finished this memoir about the Hurdy Gurdy man, I know some of the stories behind the beautiful lyrics that I cannot seem to get out of my head. "I'm just mad about Saffron...."
February 14, 2022
One of the better music autobiographies I've read. It does a good job of focusing on his early life into his quick rise to fame in the 1960s folk then jazz/world music/psychedelic/pop music. A lot of autobiographies want to cover ALL of an artist's work and the truth is that the average fan/reader is mostly interested in an artist's "prime period", Donovan seems to grasp that and makes that the focus. Donovan does seem a little obsessed with staking his claim of "I did this first" whether it's the term flower power, being folk then 'going electric', using a sitar in a recording, he always wants you to know he did it first.
Read
May 18, 2011Verrrrrrrrrrrrrrrry boring and disappointing. I like several of Donovan's songs and I thought I would learn more about him by reading his autobiography. I didn't learn very much about him at all. It seemed that one day he was a beatnick, heading for life on the road, and the next day he's a musician. Then, the day after that, he's on Ready, Steady, Go and has a record deal. I read several books while I was reading this one because it was quite boring. I still like his music, but this book did not move him higher on my list of favourite musicians.
March 30, 2014
A gentle artistic spirit who wrote some awesome songs (Sunshine Superman, Mellow Yellow) in the swinging sixties between the tender ages of sixteen and twenty four. Yes, at times he comes off as an arrogant little sod (his words, not mine) and he makes some outrageous claims (he created psychedelic rock, Celtic rock, flower power, the guitar finger picking style) but still a mostly enjoyable read through the sixties, man. It did get a little boring towards the end of the sixties, but overall I 'dug' it!
February 8, 2009
I found out Donovan worked in the same St.Ives restaurant in Cornwall, and hung out in the same places, and dossed in the same woods as I did. His St Albans early sixties period was interesting for me too, especially his guitar playing development.
Typical sixties hippy trippy mantra from flower child minstrel Donovan.
Typical sixties hippy trippy mantra from flower child minstrel Donovan.
May 26, 2010
Loved this Donovan book - if i was like Donovan I'd say i was the first person ever to have read it, but i guess Donovan was the first person ever to have read it and I would just be bad vibin' him if i was to say i'd been there first :0) As much as i love him, this book is hilarious for all the wrong reasons. Ego is a very funny thing...
March 4, 2016
Donovan Leitch was born in 1946 and at the age of sixteen he ran away from home to follow his dream of being a musician. He made memorable music but the book lacked something. Very dry matter of fact story telling. I also felt like he skip parts of his life which left me wondering what the rest of the story and why. I just could not get into this book at all.
January 3, 2022
Donovan trail blazed through the 1960s with his folk-rock which was a smash at the time. The book was somewhat enjoyable. The only thing I didn't care for was Donovan seems to enjoy pointing out everything that he deserves credit for. In other words, he seemed to take himself pretty serious. This is the psychological problem with fame. At any rate, I simply adore his music and the book was okay.
August 7, 2007
Donovan was (and still is?) a best friend to just about everyone in 60s rock, which makes this book interesting.
April 14, 2019
In Mark Shipper’s classic satirical Beatles novel “Paperback Writer,” Donovan is introduced as a spacey, easily annoyed prig who totes around bananas as his choice of drug. Upon meeting the singer in India, the Beatles call him “Don,” which makes Donovan extremely irritated.
“Don’t call me ‘Don,’ ” he tells the foursome, with increasing exasperation.
“Snotty little bugger, isn’t he?” Ringo says at one point.
Yes, Ringo, he is.
I should have given up on “The Autobiography of Donovan: The Hurdy Gurdy Man” after the first 20 pages. Immediately you could tell that the Scottish folksinger has a high opinion of himself – quoting his songs and his “poetry,” telling you about the early days of his life as if he were the most important person in the world.
Keep going, I had to tell myself. Sooner or later he’s got to get to his meeting with Bob Dylan, or talk about producer Mickie Most, or describe the trip to India with the Beatles.
He does all those things, but it takes forever to get there. Much to my chagrin, I actually had to finish the book to learn about those details – which meant I had to wade through his self-regard for the lyrics to “Sunshine Superman” or how he says he invented “Celtic Rock.” (If there is such a thing, I’ll give credit to Van Morrison – or the Clancy Brothers.) I don’t recall the last time I felt cheated by finishing a book.
Listen: I actually like some of Donovan’s music. “Season of the Witch” is excellent – cuttingly laconic, in its drama an exception to his often drifty songs. “Hurdy Gurdy Man” is a fine taste of psychedelia, with credit due to producer Most and guitarist Jimmy Page. I even have a soft spot for “Atlantis,” despite the ponderous opening (“and other so-called gods of our legends / though gods they wehe-re,” he says in his brogue), because the “Way down below the ocean” part kicks ass.
But let’s not fool ourselves. On a list of ‘60s hitmakers, the guy belongs somewhere between Blood, Sweat & Tears and Gary Puckett and the Union Gap. In his autobiography, he’s constantly bragging about his chart success, but his only U.S. Top 10 album was his greatest hits LP, and just four of his singles made that zone. (He did have eight Top 10 singles in the UK, but so did Dave Dee, Dozy, Beaky, Mick and Tich.)
What you want is the stories. He was friendly with the Beatles, after all, and surviving the British Invasion and psychedelia could make for entertaining anecdotes. Instead too many of the stories involve his pursuit of his true love, Brian Jones’ former girlfriend Linda Lawrence (credit where it’s due: they’re still married after almost 50 years), and how often he partook of the herb. His descriptions of his contemporaries are as shallow as his own self-reckoning. George Harrison is a loyal friend; Mickie Most is a conduit for Donovan’s own clever ideas and musical awesomeness. Upon finishing the album “Sunshine Superman,” he writes, “I felt the spirit move within me. I knew that the album I was recording was my masterpiece.”
It’s a very frustrating book.
In real life, he doesn’t mind being called “Don.” (Hell, he’s even kind to “Bobbie” Dylan, who mocked him – and everybody else – in “Dont Look Back.”) But his autobiography is missing the kind of self-deprecating humor that carried, say, Rod Stewart’s memoir. Even Graham Nash, who also has an ego, told some rich, charming tales of his youth with the Hollies’ Allan Clarke in his book “Wild Tales.” For such a lover of the mystical, Donovan has little of that sense of “How did I get here?”
Better to stick with the singles. “The Hurdy Gurdy Man” is a long way to go for a few worthwhile stories.
“Don’t call me ‘Don,’ ” he tells the foursome, with increasing exasperation.
“Snotty little bugger, isn’t he?” Ringo says at one point.
Yes, Ringo, he is.
I should have given up on “The Autobiography of Donovan: The Hurdy Gurdy Man” after the first 20 pages. Immediately you could tell that the Scottish folksinger has a high opinion of himself – quoting his songs and his “poetry,” telling you about the early days of his life as if he were the most important person in the world.
Keep going, I had to tell myself. Sooner or later he’s got to get to his meeting with Bob Dylan, or talk about producer Mickie Most, or describe the trip to India with the Beatles.
He does all those things, but it takes forever to get there. Much to my chagrin, I actually had to finish the book to learn about those details – which meant I had to wade through his self-regard for the lyrics to “Sunshine Superman” or how he says he invented “Celtic Rock.” (If there is such a thing, I’ll give credit to Van Morrison – or the Clancy Brothers.) I don’t recall the last time I felt cheated by finishing a book.
Listen: I actually like some of Donovan’s music. “Season of the Witch” is excellent – cuttingly laconic, in its drama an exception to his often drifty songs. “Hurdy Gurdy Man” is a fine taste of psychedelia, with credit due to producer Most and guitarist Jimmy Page. I even have a soft spot for “Atlantis,” despite the ponderous opening (“and other so-called gods of our legends / though gods they wehe-re,” he says in his brogue), because the “Way down below the ocean” part kicks ass.
But let’s not fool ourselves. On a list of ‘60s hitmakers, the guy belongs somewhere between Blood, Sweat & Tears and Gary Puckett and the Union Gap. In his autobiography, he’s constantly bragging about his chart success, but his only U.S. Top 10 album was his greatest hits LP, and just four of his singles made that zone. (He did have eight Top 10 singles in the UK, but so did Dave Dee, Dozy, Beaky, Mick and Tich.)
What you want is the stories. He was friendly with the Beatles, after all, and surviving the British Invasion and psychedelia could make for entertaining anecdotes. Instead too many of the stories involve his pursuit of his true love, Brian Jones’ former girlfriend Linda Lawrence (credit where it’s due: they’re still married after almost 50 years), and how often he partook of the herb. His descriptions of his contemporaries are as shallow as his own self-reckoning. George Harrison is a loyal friend; Mickie Most is a conduit for Donovan’s own clever ideas and musical awesomeness. Upon finishing the album “Sunshine Superman,” he writes, “I felt the spirit move within me. I knew that the album I was recording was my masterpiece.”
It’s a very frustrating book.
In real life, he doesn’t mind being called “Don.” (Hell, he’s even kind to “Bobbie” Dylan, who mocked him – and everybody else – in “Dont Look Back.”) But his autobiography is missing the kind of self-deprecating humor that carried, say, Rod Stewart’s memoir. Even Graham Nash, who also has an ego, told some rich, charming tales of his youth with the Hollies’ Allan Clarke in his book “Wild Tales.” For such a lover of the mystical, Donovan has little of that sense of “How did I get here?”
Better to stick with the singles. “The Hurdy Gurdy Man” is a long way to go for a few worthwhile stories.
August 26, 2023
The Autobiography of Donovan: The Hurdy Gurdy Man, Donovan Leitch (1946- ), 2005, 287 pages, ISBN 0312352522
This is Donovan's account of his life of sex, drugs, and music stardom, until 1970, when he burned out and dropped out, at age 24. He tells us of his concert tours, thirteen hit singles, two hundred of his songs recorded by other artists. p. 287.
According to Donovan:
It is imperative for a serious young student of music to choose at least six geniuses of the genre you are wishing to join. You must learn all of the repertoire of at least two of them. By emulating the masters you will find your own voice. p. 62.
I asked sculptor David Wynne what an artist should beware of in early fame. He replied in an instant--mediocrity. p. 164.
I needed to be part of this family because I knew that pop success endangered my well-being in many ways. p. 164.
Donovan was among a number of stars who spent time in India at the ashram of Maharishi Mahesh Yogi. As Shirley MacLaine put it, "The people here introspect and search." Search for what? She said she did not know, but what was important was the search. p. 193.
A partial list of his songs: https://andnowitsallthis.blogspot.com...
Donovan's website: https://donovan.ie/
https://en.wikipedia.org/wiki/Donovan
This is Donovan's account of his life of sex, drugs, and music stardom, until 1970, when he burned out and dropped out, at age 24. He tells us of his concert tours, thirteen hit singles, two hundred of his songs recorded by other artists. p. 287.
According to Donovan:
It is imperative for a serious young student of music to choose at least six geniuses of the genre you are wishing to join. You must learn all of the repertoire of at least two of them. By emulating the masters you will find your own voice. p. 62.
I asked sculptor David Wynne what an artist should beware of in early fame. He replied in an instant--mediocrity. p. 164.
I needed to be part of this family because I knew that pop success endangered my well-being in many ways. p. 164.
Donovan was among a number of stars who spent time in India at the ashram of Maharishi Mahesh Yogi. As Shirley MacLaine put it, "The people here introspect and search." Search for what? She said she did not know, but what was important was the search. p. 193.
Sunshine Superman, 1966:
Sunshine came softly through my window today
Could've tripped out easy but I've changed ma way.
It'll take time, I know it, but in a while
You're gonna be mine, I know it.
We'll do it in style
'Cause I've made ma mind up you're going to be mine
Any trick in the book now, baby, that I can find. p. 125.
Pebble and the Man:
Happiness runs in a circular motion
Thought is like a little boat upon the seas
All our souls are deeper than you can see
You can have everything if you let yourself be.
A partial list of his songs: https://andnowitsallthis.blogspot.com...
Donovan's website: https://donovan.ie/
https://en.wikipedia.org/wiki/Donovan
May 14, 2024
I love Donovan’s music. But, listen, no one loves Donovan the way that Donovan loves Donovan. He lived through the most interesting period in pop musical history but, because of his narcissistic view, he’s the world’s worst tour guide through it. Almost every page in this autobiography is about how great he is. It is, at times, unbearable. Here are some examples but, trust me, there were a hundred more.
“Bob’s experiment that August of 1965 would be hailed as the first ‘folk-rock’ fusion, but I went electric on stage back in the spring of that year.”
“I was the only other big solo success apart from Dylan. His lyrics are without equal…but I think that musically I am more creative and influential.”
“There were no songs like mine to compare with. It was all new directions, uncharted seas.”
“Mickie Most has said I was ahead of the scene. I was signing about flower power on this album at least a year before its ‘official’ arrival.”
“Mickie Most later said that the music we made in late 1965 and 1966 influenced the Beatles to experiment more adventurously on Sergeant Pepper’s Lonely Hearts Club Band.”
“But the world lay at my feet. My music was playing on every radio on the green rolling earth.” Who talks about himself that way?
“My personal belief is that as reincarnated Celtic bards, George, John, Paul and I knew of the spiritual plane before we met the Maharishi.”
“With The Beatles retired from live concerts, I was the hottest concert ticket of that ‘Summer of Love’ in 1967.” Really?
In the course of this baffling memoir Donovan takes credit for Celtic Rock, the new age, Led Zeppelin, electric folk, Sergeant Pepper, flower power and Marc Bolan, among other things. I thought perhaps that he was going to claim that he was the first to map the structure of DNA.
But I can’t totally trash the man. I’ll even give him an extra ½ star because Sunshine Superman is still in my top 20 albums.
“Bob’s experiment that August of 1965 would be hailed as the first ‘folk-rock’ fusion, but I went electric on stage back in the spring of that year.”
“I was the only other big solo success apart from Dylan. His lyrics are without equal…but I think that musically I am more creative and influential.”
“There were no songs like mine to compare with. It was all new directions, uncharted seas.”
“Mickie Most has said I was ahead of the scene. I was signing about flower power on this album at least a year before its ‘official’ arrival.”
“Mickie Most later said that the music we made in late 1965 and 1966 influenced the Beatles to experiment more adventurously on Sergeant Pepper’s Lonely Hearts Club Band.”
“But the world lay at my feet. My music was playing on every radio on the green rolling earth.” Who talks about himself that way?
“My personal belief is that as reincarnated Celtic bards, George, John, Paul and I knew of the spiritual plane before we met the Maharishi.”
“With The Beatles retired from live concerts, I was the hottest concert ticket of that ‘Summer of Love’ in 1967.” Really?
In the course of this baffling memoir Donovan takes credit for Celtic Rock, the new age, Led Zeppelin, electric folk, Sergeant Pepper, flower power and Marc Bolan, among other things. I thought perhaps that he was going to claim that he was the first to map the structure of DNA.
But I can’t totally trash the man. I’ll even give him an extra ½ star because Sunshine Superman is still in my top 20 albums.
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