It’s a rare gift in the world of songwriting to be able to infuse music with genuine warmth. While many performers can project it and composers can evoke it when the narrative calls for it, songwriters who can consistently bring a smile to your face within just a few bars are truly special. Think of the effortless charm of Hoagy Carmichael, the infectious energy of Fats Waller, and in more recent times, the joyful melodies of ABBA’s Bjorn and Benny, the soulful sincerity of Carole King, or the comforting tones of Sam Cooke. Perhaps James Taylor could also be counted among this select group. Yet, even with these luminaries in mind, there’s one name that deserves prominent recognition, a songwriter whose work is often unfairly understated: John Sebastian.
Sebastian, the creative force behind The Lovin’ Spoonful, crafted a string of hits that defined the sound of the mid-1960s. From 1965 to 1967, his songs dominated the airwaves, and his influence extended beyond the band’s lifespan. Even an unplanned appearance at Woodstock, stepping in as an acoustic act during technical difficulties, became a memorable moment in his career. While he remains active and fondly reflects on his past, John Sebastian will forever be linked to the vibrant, free-spirited era of the late sixties.
On the surface, The Lovin’ Spoonful might seem like just another band from that era – embodying the West Coast vibe, sporting granny glasses, and even facing the occasional drug bust. However, digging deeper reveals the enduring quality of Sebastian’s songwriting. Tracks like “Do You Believe in Magic?”, “Did You Ever Have to Make Up Your Mind?”, “Daydream”, and “Summer in the City” possess a timeless appeal that transcends the trends of their time. These are songs that continue to resonate, long after many of the more flamboyant hits of the era have faded into nostalgic relics.
In an insightful interview, John Sebastian himself reflected on his musical integrity:
‘I think that my past stands me in good stead in that it does have a certain strength for musicians. In other words, musicians know that going back to the Spoonful, what we were doing was not copying. It was original. These are all things that stand you in good stead in the long run.’
This emphasis on originality is key to understanding John Sebastian’s artistry. He consistently carved his own path, and his songs, often described as “good time music,” are imbued with a distinctive wit and charm that is unmistakably his. His music is a rich tapestry woven from the diverse threads of the early 1960s Greenwich Village scene. You can hear echoes of the mainstream folk of The Kingston Trio, the burgeoning new folk movement of Van Ronk and Dylan, hints of jazz and roots music, a touch of Tin Pan Alley’s melodic craftsmanship, and even a playful nod to 1950s doo-wop. And, of course, the seismic impact of The Beatles loomed large over it all.
The Lovin’ Spoonful emerged precisely when Beatlemania was sweeping the globe. In fact, their music can be seen as a response to the British Invasion, a distinctly American voice in the face of overwhelming British influence. As Sebastian recounts, the idea for the band sparked while watching The Fab Four on the Ed Sullivan Show at Mama Cass’s apartment. It was there he connected with guitarist Zalk Yanovsky, and the concept of forming their own group took shape.
‘We didn’t want to imitate these guys. We were going to look like regular street guys.’
Sebastian’s musical compass pointed him towards the jug-band music of the 1920s, a genre he reimagined with a gentle, witty 1960s sensibility. His songwriting is characterized by effortlessly catchy melodies and lyrics that blend quiet swing with subtle humor. Occasionally, as in his 1976 hit TV theme song “Welcome Back” (Welcome Back), you can detect a resemblance to the early work of Randy Newman, another master of understated musical storytelling.
These aren’t songs designed to revolutionize the world. Instead, John Sebastian excels at capturing the beauty and humor in small, everyday moments – a far more challenging feat than it might seem. He not only absorbed the vast landscape of American music history but also forged a uniquely personal voice that was remarkably original for its time. It’s no surprise that fellow songwriters like Ray and Dave Davies of The Kinks were admirers of The Lovin’ Spoonful. In many ways, John Sebastian paved the way for the singer-songwriter boom of the early 1970s.
His distinctive lyrical style, marked by its conversational tone and clever turns of phrase, may have been influenced by his mother, who was a writer for radio.
‘Having the skill to write funny, which is what my mother could do, is the most valuable thing, i think. You know, writing songs – it really comes in there.’
And this brings us to “Nashville Cats,” a quintessential Lovin’ Spoonful track and a perfect example of Sebastian’s songwriting prowess. This delightful, lighthearted song is a tribute to the vibrant music scene of Nashville, a place where, as the lyrics playfully suggest, it seemed everyone was a skilled guitar player.
“Nashville Cats” (Nashville Cats lyrics) possesses a country-infused groove, yet it’s distinctly an outsider’s affectionate observation of country music. Despite its origins as a pop song, it has remarkably transitioned into a bluegrass standard, particularly when performed by the Del McCoury Band). What truly makes the song shine is the lyrical dexterity. The lyrics tumble out with a captivating rhythm, peppered with clever internal rhymes that propel the narrative forward with irresistible momentum.
‘Yeah, I was just thirteen, you might say I was a
Musical proverbial knee-high
When I heard a couple new-sounding tunes on the tubes
And they blasted me sky-high.
And the record man said every one is a Yellow Sun
Record from Nashville
And up North there ain’t nobody buys them
And I said, “But I will!”‘
John Sebastian has remained open to revisiting his classic songs, offering fresh interpretations and collaborations. A recent example is a version by Black country singer Tony Jackson, featuring Sebastian himself providing backing vocals, a performance that is particularly engaging to watch.
However, it is The Lovin’ Spoonful’s original recording of “Nashville Cats,” with its signature production – “clean as country water” as the song itself describes – that perfectly encapsulates a specific and cherished moment in music history. It’s “good time music” at its finest. So, thank you, John Sebastian, for the warmth, the wit, and the enduring charm of “Nashville Cats.”
