I've specified the US version of this album simply because it was the original album the way it was envisaged by Donovan and producer Mickie Most. Released in the US on 26 August 1966, the UK release was delayed because of a contractual dispute and by the time it was cleared for release in the UK, Donovan had already moved on to his next work. Consequently the version made available to the UK record buying public in June 1967 was rather different being a compilation of 'Sunshine Superman' and it's follow-up 'Mellow Yellow'.
Donovan himself became despondent at the thought of his 'masterpiece' not seeing the light of day but matters worsened when he was arrested in London for possession of drugs in June 1966. This prevented him from entering the US for a while and he was therefore unable to promote the release of the album and single of the same name. Disillusioned, he took off with a friend Gypsy Dave to the Greek island of Paros. It was only news that the single had reached number one in America that persuaded him to return.
The album was recorded between December 1965 and May 1966 at Columbia Studios, Hollywood and EMI Studios, Abbey Road, London and it marked a radical departure from the more folky influences of his first two releases. Whilst retaining some folk styles, 'Sunshine Superman' includes elements of jazz and Indian music along with musical and lyrical examples of what was becoming known as psychedelia. There were also developments in the musical accompaniment incorporating rock band backing (including on the title track, future Led Zeppelin members Jimmy Page and John Paul Jones), string and woodwind arrangements and exotic instruments such as sitar, harpsichord and bouzouki.
'Sunshine Superman'
Recorded at Abbey Road Studios (then still known simply as EMI Studios), this song featured renowned session guitarist Jimmy Page and on bass, his fellow future Led Zeppelin cohort, John Paul Jones. The recording session took place in January 1966 and the song was released as a single in the US (backed by 'The Trip') in July that year. The song was very different to Donovan's earlier singles such as 'Catch The Wind' and 'Colours' and is now regarded as one of the earliest examples of psychedelic music on record. The single reached number 1 in the US and after its delayed December 1966 release in the UK, it reached number 2.
'Legend Of A Girl Child Linda'
Donovan met and fell for Linda Lawrence in the Spring of 1965, however, having been the former girl friend of Rolling Stone, Brian Jones, she was reluctant to commit to a relationship with another musician. Consequently Donovan's love remained unrequited until the late 1960s, yet Linda provided the inspiration for several songs in that period. (The couple married on 2 October 1970 and remain together to this date). Written in Sweden, the 18 verse song is like a medieval fairy tale but is also a story of lost innocence in the tradition of William Blake. It was recorded at Abbey Road and features beautiful harpsichord, string and woodwind arrangements by John Cameron.
'Three Kingfishers'
Donovan sings here of twelve kingfishers and it transpired that the title was actually a typing error on the album sleeve! The song was recorded at Columbia Recording Studios, Hollywood featuring Texan singer-songwriter, Shawn Phillips on sitar.
'Ferris Wheel'
Another of the songs recorded in Hollywood, this again has Donovan backed by tasteful sitar and bongo drums. Although you may not know it from the psychedelic imagery in the lyrics, the song is purportedly about a girl getting her hair caught in a Ferris wheel and having to have it cut off. At least that's according to Donovan when he spoke to MOJO magazine in 2011.
'Bert's Blues'
Donovan pays homage to his friend and fellow Scottish folk musician, Bert Jansch with this track in which he even takes on some of Jansch's distinctive vocal mannerisms. The song was recorded at Abbey Road and featured another great John Cameron arrangement.
And so ends side one of the original vinyl album.
'Season Of The Witch'
Side two kicks off with another psychedelic masterpiece and even features Donovan on electric guitar rather than his trademark acoustic. The air of paranoia and menace indicated in the lyrics has made this song an ideal background piece for numerous films and the song has also been covered by countless other artists. Incidentally the organ during the instrumental break adds to the spooky feel of the song, yet no one seems to know who played it. Nevertheless the song was recorded in Hollywood.
'The Trip'
Although this song served as the B-side of the 'Sunshine Superman' single, it was a different mix featuring harmonica which is not included on the album version. Recorded in Hollywood, the title appears to come from the name of a music club called The Trip which opened in 1965 at 8572 Sunset Boulevard. Although short lived, live acts who played there included The Byrds and The Velvet Underground. Alternatively the song may be about an LSD trip. Whatever the influence, the song name checks Bob Dylan and a Julian who may well be the son of Linda Lawrence and Brian Jones.
'Guinevere'
For this gorgeous and haunting acoustic ballad, Donovan returns to an English medieval theme though the song was ironically recorded in Hollywood.
'Fat Angel'
Written for Mama Cass (Elliott) of American/Canadian group, The Mamas & The Papas, this song also mentions a relatively new west coast group, Jefferson Airplane who would later feature the song in their repertoire and include a live Fillmore East version on their live album 'Bless Its Pointed Little Head'. (Jefferson Airplane's first album, like 'Sunshine Superman' was also released in September 1966).
'Celeste'
The album closes with another lovely ballad inspired by Linda Lawrence and once again given a beautiful arrangement by John Cameron. The medieval theme from earlier songs is carried into this courtesy of the harpsichord instrumental break.
Although the US version of the album represented the work the way that Donovan envisaged it, the cover did not. At that time he was one of the few artists who was able to have a say in the artwork for his releases and for 'Sunshine Superman' he desired an illustration based upon the letter 'S'. While he was to get his way for the much later UK release (designed by Mick Taylor and Sheena McCall), his ideas were vetoed in the US where the record company preferred a photograph taken by Barry Feinstein, surrounded by a romantic Art Nouveau design by Dick Smith. Whatever the finished product looked like, the sales were certainly not adversely affected.
Despite the medieval subject of some of the lyrics, this was a very forward looking album and one which subsequently influenced artists on both sides of the Atlantic. Perhaps because of the problems associated with it's release and the fact that the US and UK versions were different, it has often been overlooked. The very fact that the release of some of these tracks was delayed in the UK resulted in the album seeming far less ahead of its time. That's a shame because the album as it was meant to be released is a true classic.
It should also be remembered that at the time Donovan was a very well respected writer and musician. The 1970s glam-rock, prog-rock and punk did not help his career but his influence during the 1960s certainly paved the way for the likes of The Incredible String Band. Also without teaching John Lennon and Paul McCartney some fingerpicking techniques in India, we might never have been treated to the guitar introduction to 'Blackbird' or to the descending picked introduction of 'Dear Prudence' (both on 'The Beatles', the White Album).
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