Jeff Beck -"Love is Blue" (L'amour Est Bleu) b/w "I've Been Drinking" 45rpm 7" single, Blue Vinyl, 1968/2015 (Sundazed)

For a few months after leaving The Yardbirds, Jeff Beck was unpredictable. He could go heavy, Psych, blues, but I wouldn't suspect him doing Middle-of-the-Road music.  "Love is Blue" is a MOR standard, and to me, it's a crazy concept between him and the producer Mickie Most. Still, at its best, there is a trace of a Shadows influence, regarding how Beck handles his guitar duty on this French pop song.  The first 20 seconds must have people look at the record label to see it wasn't a mistake.  Once the guitar kicks in, it's Beck, but a weird Jeff.   On a kitsch level, it's masterful. But Beck and kitsch really doesn't really mix well. Especially when the backup chorus kicks in. Did Mickie Most really see Jeff Beck as the guitar hero for the granddad set in the middle of the swinging 1960s?

The B-side (thank god for B-Sides) is "I've Been Drinking" a co-write between Beck and his vocalist at the time, Rod Stewart. I have to imagine that this is the classic Jeff Beck Group lineup with Ron Wood on bass, Mickey Weller on drums, and Nicky Hopkins on piano.  I like the echo effect on Rod's voice and the underhanded backup vocals.  Sturdy, workman-like, but not on a genius level. Still, there is something always cool about Jeff Beck. It's in his DNA. 

Jeff Beck - "Tallyman" b/w "Rock My Plimsoul" 45prm single, yellow vinyl, 1967/2015 (Epic/Sundazed)

Jeff Beck always appealed to me due to his clothes sense, physical looks, and of course, his guitar playing.  There is something no-nonsense concerning his approach to music-making.  I admire that and being a fan of The Yardbirds, I feel a devotion to his time in that band.  Still, in 1968, when I purchased his album "Truth" I was disappointed in its conservative approach to rock.  I loved the craziness and wildness of The Yardbirds singles and their manic quality.  Beck, on his own, was a tad tasteful.   He had a great band, with such talent as Rod Stewart, Ron Wood as the bassist, and Mick Weller as a drummer - plus the presence of the great Nicky Hopkins.  Still, there was something missing in the mix, and I think that was due that Beck is not a songwriter.  Also, he's not a great arranger like Jimmy Page, who by the way, I don't think he's a songwriter as well.  But he knows a great tune if you get my drift. 

"Tally Man" is an interesting record/song by Beck. Written by the great Graham Gouldman, who wrote hits for The Yardbirds as well as Herman's Hermits, and produced by Mickie Most.  I believe it's Beck on lead vocals, and it's a wonderful pop song done in that Beck manner to make it heavy.  A one-off single before the album, or before he got the band together.  

Donovan - "Donovan in Concert" Vinyl, LP, Album, Reissue, 1968 (Epic)

When this album was released in 1968, I was 14, and I remember that I avoided this album with a vengeance.  Which is strange, because I was a huge fan of his Mickie Most produced albums.  But even in 1968, the hippy-dippy version of Donovan was a turn-off to me. I can enjoy the studio albums from 1966 to 1968, but a live album at the height of flower power, no thanks. 

Decades later, and at the age of 64, I'm finally listening to "Donovan in Concert."  It's a great album, because one, his vocals are superb, and two, his minimal band behind him is fantastic.  At least in this show, he didn't do his 'hits but instead focused on his deep cuts from his studio albums from that era. What we have here is a jazz-orientated background, with Donovan coming off not so much as flower power child, but a torch singer for the Aquarius age.  "Young Girl Blues" is backed by piano, a bowed-standup bass, and light, gentle percussion and flute.  Strangely, it sort of reminds me of Nina Simone, in that like that iconic singer, can tear into the song, take it apart, and then put it back together toward the end of the piece. 

Donovan at this point in his career had the teenage female who loved the gentle folk singer, with the Scottish accent.   Still, I'm amazed that I never picked up on the sophistication of his arrangements, which to me is not all down to Mickie Most, but Donovan's sensitivity to his material, and not down-playing the hit song aspect of the material.   There's a sexual aspect, that is smokey, but one can understand that the flowers are part of the seduction of his image and sound.  Lyrically he has a journalist quality in placing the landscape to the listener.  "Donovan in Concert" is for sure very much a snapshot of that era, but years or decades later, I'm now admiring his daring of making dream music that transforms one into space, more likely a private place, but one that's in your own head. 

Terry Reid - "Bang, Bang You're Terry Reid" Vinyl, LP, Album, 1968 (Epic)

Terry Reid has good taste in covers, and he has the voice that cuts through all his material.  Terry Reid is very much his voice/guitar, organ, and drums.  With some horn and what sounds like a stand-up bass on the song "Without Expression" which to me sounds like a classic Donovan song, but alas, a Reid song.  Legend has it that Jimmy Page asked Reid to be Led Zeppelin's singer, but he turned it down, but not before recommending Robert Plant.  And there is a similar sound to Reid's voice to Plant, but I think in 1968, Terry was a better singer.  Beside Plant, there is a Nina Simone touch, and he has a feminine approach to the words.  Without saying, he can sing the ABC's and make it into a moving experience.  

"Bang, Bang, You're Terry Reid" is a fantastic album.  It's very 1968, and it's produced by pop music golden ears Mickie Most, who at this time seemed to be into a heavy sound, for instance, he produced the Jeff Beck Group at this time as well.  The thing is Reid is heavy, but he treats his songs and his covers as delicate pieces of glass.  He knows how to press hard, but he gives each song a tension that is never cliche, and like my Simone comparison, he knows how to stretch, pull, and focus on the melodic dynamic of the song.   The covers here are Sonny Bono's "Bang Bang (My Baby Shot Me Down)," Donovan's "Season of the Witch," the great Gene Pitney ballad "Something's Gotten Hold of My Heart," and Eddie Cochran's "Summertime Blues."  "Writing on the Wall" reminds me very much like The Yardbirds' "Still, I'm Sad," which they share the same producer (Most).   His version of the Cochran song has a Keith Emerson (The Nice) approach, which is unusual.  I should note here because there's no credit at all on the album that Eric Leese plays the organ and Keith Webb on the drums.  I suspect as a live act, they must have been magnificent.  Special thank you to Robert Newman for bringing Terry Reid to my attention.  

Donovan - "Barabajagal" Vinyl, LP, Album, 1969 (Epic)

A very good, but not classic Donovan album.  "Barabajagal" is Donovan at his most hippie twee, with songs like "Happiness Runs" and "I Love My Shirt."  And even "Atlantis," still, there is really no such thing as a bad Donovan song or performance.  There is the image of Donovan as the universal folkie turned flower child, which is true.  On the flip of the other side of the coin is that Donovan is a brilliant stylist/singer who brings jazzy overtures to his melodies and arrangements.  Mickie Most produced the classic Donovan sides (like this album), but I'm never sure what Most brings to the sonic table to a Donovan session.  Most is/was comfortable working with the Jeff Beck Group (who back Donovan on two songs on this album) and Terry Reid at the time who had a "heavy" sound.  

One of my favorite Donovan songs is on this album, and it's "To Susan Waiting on the West Coast."   A tune about a soldier in Vietnam writing to his girl back home.   Simple narrative but Donovan can bring out the pathos with his overly British twee-Jazz, that works brilliantly with this song.  I'm also a fan of "Superlungs My Supergirl."  Terry Reid also did a fantastic cover of this song around the same time this album was released - again, the Mickie Most connection.   Beck and gang back Donovan on the title cut, and clearly the Beck aesthetic on guitar is very prominent on "Barabajagal."  He's riffing like crazy under the mix of rhythm and the backup singers.   Although not individually credited, I imagine Nicky Hopkins is on the album.  The piano playing is superb throughout the disc, and the only song besides the Beck group (none of the musicians besides Beck is clearly credited) is the song "Where Is She," with session great Alan Hawkshaw on piano.  The rest I think is Hopkins.  

In real time, I bought the Donovan albums when they originally released. This was the last Donovan album for me.  Perhaps due to the marketing of that time, or me moving on to my teenage years, I gave up on Donovan.  It wasn't until recently that I started to pick up on Donovan's great Epic albums to provide them with that serious re-listen.  I'm now a bigger fan of his work, looking back on material that is of course, charming, but also has elements and textures that was very much present in the late 1960s - the acceptance of music from other cultures.  In that sense, Donovan was or is a great traveler. 

Donovan - "The Hurdy Gurdy Man" Vinyl, LP, Mono, Album, 1968 (Epic)

You can never go wrong with an album that is credited "A Mickie Most Production."   Beyond that, you can't normally go wrong with a Donovan album.  "The Hurdy Gurdy Man" album is the Donovan album that people don't talk or write about.  It has two hit singles "Hurdy Gurdy Man" (amazing) and the charming "Jennifer Juniper."  Of the Mickie Most / Donovan albums, this one is his most Indian/world/exotic instrument LP.  

First of all, Donovan is the most underrated singer of his generation.  A superb stylist, with jazzy overtones.   Two songs that stand out for me on "The Hurdy Gurdy Man" is "Peregrine" and "Tangier."  Both have a strong Indian / drone influence, and yet, Donovan makes it very much his own.  His approach to his songs is very much him.  There is really no other Donovan.  It's not only his voice but the presence and style of his music that makes him a very unique artist.   

There is also the "twee" image Donovan has cultivated over the years, but when I hear his music, I don't think of the softness, but the beautiful arrangements.  His psychedelia is different from say someone like the band Traffic (but close...) or the Fab Four.  Some of the "drone" songs were co-written by David J. Mills, a close friend of Donovan's.  "Teas" reminds me a bit of George Harrison, but I also hear Dave Brubeck's piano running through the mix as well.  John Paul Jones, although not credited on the sleeve was very much part of the album through his talent as an arranger.  It is rumored that Jimmy Page is on the album as well, but not proven.  For sure Clem Cattini did the drumming.  Nice to have a Joe Meek reference here.  Clem was the drummer for The Tornados. 

Donovan - "Sunshine Superman" Vinyl, LP, Album, Reissue, Mono, 2005, Originally 1966 (Sundazed)

"Sunshine Superman," I think is the first Donovan album that I purchased in the year of its release 1966.   You can't get more 1966, than "Sunshine Superman."   The song was a big hit on the radio and very hard to avoid if one even dared to do so.  Everyone loved that song.  I clearly remember driving with my dad on Sunset Boulevard and hearing this song in another car's AM radio speaker.  Once on the radio, everyone put the volume up.   Very summer-like soundtrack. 

Donovan always had that ultimate hippie white robe thing going, but the truth is, he's a masterful pop songwriter and an incredible singer.  His appeal for me is that he has a jazzy vocal, but that is blended into his beautifully orchestrated pop music mode.  He has a very unique sound, that goes beyond the image of flute, guitar and bongo drum.  Even his earlier folk recordings had more of a jazz cafe quality than New York's Washington Square.   The other great ingredient in his overall sound of his albums is the talent of hitmaker Mickie Most.   He often used Jimmy Page and John Paul Jones on his recordings, and I suspect (especially Jones) are on "Sunshine Superman."

"Season of the Witch" is the other outstanding track beside the title that is iconic like. Druggy, groovy, and hypnotic; one would think this would be the ultimate laid back garage rock recording of all time.  It hints of exotic overtures, which makes it irresistible.   The truth is, the whole album is on that train of thought.  It flows like pouring a beautiful glass of wine into a large wine glass.  The other highlight is the closing song "Celeste" which is Donovan's most beautiful melody and delivery.  

The Yardbirds - "Little Games" Vinyl, LP, UK, 1967 (Fame)

I have been avoiding The Yardbirds' album "Little Games" due that I love the b-sides of the singles of the Jimmy Page era Yardbirds.   To my surprise, I found another version of the album with the additional b-sides on it.  Bingo! Now my life is complete (in theory).  The band at this time was in a weird frame of mind.  I think everyone was thinking about their future while recording this album.  That is expressed by the duality of the songs on the album.  On one end of the spectrum you have the rockin' blues Yardbirds that is very close to their R n B roots, but then there are the sneaky ultra-pop songs of that year (1967) as well.   Me being perverse, prefer the pop material.  "Ha Ha Said the Clown" and "Goodnight Sweet Josephine" (both written by a Tony Hazzard, must make a note to check him out) are works of genius.  The muscular sound of the Yardbirds (especially Jimmy Page) adds a nervous tension to these pair of melodic songs. 

"White Summer" is Led Zeppelin just right around the corner, as well as "Think About It," but then you have Nilsson's "Ten Little Indians" or "Little Soldier Boy."  Mikie Most produced the album and b-sides, and it's interesting to note the sonic and aesthetic difference from the Jeff Beck years to this.  Which is confused, but that's OK.   In parts, the album reminds me of being a little bro to the Stones' "Between the Buttons."  I think 1967 was a year where musicians didn't only stretch out in the studio but also brought variety to the album package/sound.  Which can work, but I think The Yardbirds true nature is to have a guitar rave-up than say a retro British Music Hall "I Remember the Night."   By no means a masterpiece, but a splendid album.