Donovan Catch The Wind

This compilation, the first ever on compact disc in America, features the best of Donovan's early landmark work including his first single Catch The Wind and classic tracks such as Colours and Turquoise; successful protest songs such as Universal Soldier and tracks from his first two British albums "What's Bin Hid and What's Bin Did" and "Fairytale." Although these records did feature the occasional sideman, it was mostly just Don, singing some of his most poignant and expressive songs while interpreting favorites by other writers such as Bert Jansch and Buffy St, Marie.
In later years Donovan adapted his style to explore the psychedelic revolution but these early simple songs are considered to be among his best…

While this album is not to be confused with Donovan's debut album (which was released under two different titles, Catch the Wind and What's Bin Did and What's Bin Hid), this particular collection is devoted to material from the same period in the singer/songwriter's career, his early years recording for Pye Records when his work was most strongly influenced by Bob Dylan's days as the king of poetic protest music…

Donovan’s folky 1965 recordings for Pye Records (they were released in the U.S. by Hickory Records) bear only a superficial resemblance to the more hip pop material he began issuing a year later when he switched to Epic Records.

To finish my Donovan’s Folk era cycle, I leave the legendary EP where appears “Every man has his chain“

Heaven knows, the Scotsman born Donovan Leitch was ripe for ridicule, even when he was hitting the charts with regularity. He was the ultimate flower child, and his airier pronouncements made cynics want to tighten up those love beads around his neck. Listening to Troubadour, however, it's striking how versatile, melodic, and agreeable most of his material sounds decades after "Mellow Yellow" has faded into a jaundiced yellow. Clearly under the sway of Bob Dylan early on in his career, Donovan nevertheless was capable of directing his reverence into something as enchanting as "Catch the Wind." Amping up as the '60s progressed, he assembled a series of psychedelic-pop classics, including "Season of the Witch," the "Hey Jude"-like sing-along "Atlantis," and the uncharacteristically driving "Hurdy Gurdy Man" (the latter features three-quarters of what was to become Led Zeppelin providing stellar support). This two-disc anthology may be more Donovan than some desire, but the booklet, seven previously unreleased tracks, and expansive perspective it provides makes it a more-than-worthy overview for those who take their paisley folk-rock with a beatific smile.

Upon his emergence during the mid-'60s, Donovan was anointed "Britain's answer to Bob Dylan," a facile but largely unfounded comparison which compromised the Scottish folk-pop troubadour's own unique vision. Where the thrust of Dylan's music remains its bleak introspection and bitter realism, Donovan fully embraced the wide-eyed optimism of the flower power movement, his ethereal, ornate songs radiating a mystical beauty and childlike wonder; for better or worse, his recordings remain quintessential artifacts of the psychedelic era, capturing the peace and love idealism of their time to perfection…