It’s been a while, and apologies for the absence. Life has been a whirlwind with a new job and wedding preparations. But today, let’s shine a spotlight on a band that truly deserves more recognition: The Lovin’ Spoonful. We’re starting with their debut album, a treasure trove of early Lovin’ Spoonful songs, and will explore their subsequent albums in future posts.
Way back in this blog’s early days, we touched upon “Never Going Back,” a somewhat overlooked country-rock track from the Lovin’ Spoonful era after John Sebastian and Zal Yanovsky. At the time, it struck me that this band was ripe for rediscovery, seemingly underrated and almost forgotten. Years have passed, and that feeling persists. Since a full-scale reassessment hasn’t quite materialized, let’s take it upon ourselves to delve into their musical world, starting with their beginnings.
This week has been dedicated to immersing myself in the Lovin’ Spoonful’s initial three albums, all released within a remarkably short twelve-month period, alongside the soundtrack for What’s Up Tiger Lily. This prolific output might seem extraordinary today, but it was quite typical in an era where record labels operated under the assumption of bands having a fleeting moment in the spotlight. The strategy was to maximize output while public interest was high.*
Listening to their debut, Do You Believe in Magic, it becomes apparent that the Lovin’ Spoonful were still developing as a songwriting force. The album leans considerably on covers of folk-blues standards, featuring only four original compositions by John Sebastian. Even the blues instrumental closing the album is credited collectively to all four band members.
While Do You Believe in Magic might feel somewhat concise, its charm is undeniable. The fact that it opens with the iconic title track – arguably one of the greatest pop singles ever crafted – certainly contributes to this immediate appeal. A crucial element of Sebastian’s artistry was his seemingly genuine sincerity. Though just in his early twenties, few musicians in rock could deliver lines like “Believe in the magic of a young girl’s soul, believe in the magic of rock ’n’ roll” without sounding either cynically manipulative or distastefully predatory. From Sebastian, these sentiments feel entirely authentic and utterly disarming. This sincerity is a cornerstone of what makes Lovin’ Spoonful songs so enduring.
Musically, Do You Believe in Magic showcases Sebastian’s eclectic influences. He famously adapted the intro chord progression from Martha and the Vandellas’ “Heatwave.” Sebastian explained his rationale: since the intro to “Heatwave” was so captivating, taking those chords and altering them slightly would, in his mind, make it doubly exciting.** This approach worked brilliantly and encapsulates the Lovin’ Spoonful at their best. Remarkably versatile for such young musicians, they drew inspiration from the folk revival, blues, country, jug band traditions, Motown, and the British Invasion beat groups, seamlessly blending these elements. They possessed the ability to perform authentically in almost any of these genres (perhaps with the exception of pure Motown-style pop-soul), or, as exemplified by “Do You Believe in Magic,” fuse them together into something uniquely their own, always retaining their distinct Lovin’ Spoonful sound.
For me, the band’s forays into straightforward rock music were generally less compelling. Steve Boone and Joe Butler formed a highly competent rhythm section, adaptable to virtually any musical style. However, raw aggression wasn’t their natural inclination – both temperamentally and vocally, none of them possessed voices ideally suited for heavier material. Consequently, tracks like “On the Road Again” sound somewhat unconvincing when compared to the raw energy of The Beatles’ rock ‘n’ roll numbers or Creedence Clearwater Revival’s sound that would emerge a year or so later.
Lovin' Spoonful Do You Believe in Magic Album Cover
However, their rendition of a folk-blues standard like “Sportin’ Life” is undeniably credible. Sebastian was a skilled blues harmonica player, having learned from the best. His father, also named John Sebastian, was a classical harmonica virtuoso, and the younger Sebastian honed his blues harp skills by jamming with legends like Lead Belly, Lightnin’ Hopkins, and Brownie McGhee and Sonny Terry in Greenwich Village. By 1965, when he delivered his harmonica work on Fred Neil’s “Bleecker and MacDougal,” he was already a seasoned veteran at the young age of 21. His vocal performance on “Sportin’ Life” is also strong. While they might not have replicated the exact sound of Fred Below and Willie Dixon on a Chess Records session, they were far from inexperienced novices.
Fred Neil, a leading figure in white folk-blues, stands as a significant influence on this album, extending beyond just their choice of covers. The band actually recorded a Neil original, “Other Side of this Life.” While Sebastian’s voice was lighter and less commanding than Neil’s (whose voice is undeniably powerful), his phrasing and note choices on the bluesier tracks clearly echo Neil’s vocal approach. This connection highlights the depth and breadth of influences that shaped Lovin’ Spoonful songs.
While John Sebastian is undeniably central to the Lovin’ Spoonful, it’s essential to remember they were a band, not simply a frontman with backing musicians. Zal Yanovsky’s contributions are crucial to the arrangements, particularly on the folk-rock infused tracks. His guitar work bubbles with joyful energy throughout “Do You Believe in Magic” and “Did You Ever Have to Make Up Your Mind.” Yanovsky and Butler also provided valuable harmony vocals and occasionally took lead vocal duties. As mentioned earlier, the rhythm section’s ability to seamlessly transition between musical styles gave Sebastian the creative freedom to write in whatever idiom he chose.
A quick glance at the Do You Believe in Magic tracklist might suggest that it’s primarily a stepping stone – a warm-up before the “bigger and better things” that were to come, particularly considering the hits “Younger Girl” and “Did You Ever Have to Make Up Your Mind” are also present. However, it stands as a genuinely enjoyable record in its own right. It’s far more accomplished and engaging than one might expect from a debut album of young white musicians interpreting Jimmy Reed and Brownie McGhee songs. This album, and the early Lovin’ Spoonful songs within it, are ripe for rediscovery and will likely surprise you with their enduring charm and musical depth.
*In a recent interview with Richie Unterberger, bassist Steve Boone offered insights into their treatment by Kama Sutra Records: “So we were a) worked to death and never had the chance to really breathe deep and spend time on the cuts, and b) the label and the way they got records on the air had nothing to do with somebody sitting back and putting on FM 101.7 and smoking a joint and listening to eleven, twelve, ten cuts, maybe with some kind of a sequential order to them. That was so alien to them that I don’t think they could even handle it if they were asked to experience music that way. All they could think was wham, bam, thank you ma’am. Get it on the air, get it in the top of the charts, get it off the air, and get the next one up there.”
**Sebastian’s public persona of good humor and dedication to feel-good music can sometimes create an impression of simplicity, which might be a deliberately crafted image. Nevertheless, some critics have taken him at face value. Consider this Robert Christgau review: “So what happened to John Sebastian, anyway? […] Figure the reason no one was better at translating the flowery optimism of the middle ’60s into folk-flavored pop song–“Do You Believe in Magic,” “You Didn’t Have to Be So Nice,” “Daydream,” “Summer in the City,” “Rain on the Roof,” just look at those titles–was as much spirit as talent. Figure he was so eager, so well-meaning, so fun-loving, so warmhearted, such a simpleton, that when the times demanded cynicism this John–unlike natural-born reprobate Phillips or designated reality principle Lennon–didn’t have it in him.”
