Dan Hicks (born December 9, 1941 - Died February 6, 2016) was a musician wh… Read Full Bio ↴Dan Hicks (born December 9, 1941 - Died February 6, 2016) was a musician whose style blends elements of folk and jazz (and bits of other genres, too). His music is also infused with a good dose of humor (e.g., one of his most popular songs: "How can I miss you when you won't go away").
Hicks was in the San Francisco band The Charlatans, but is perhaps best known for his work with "Dan Hicks and his Hot Licks" which existed from sometime in the mid-1960s until 1973, culminating in the album Last Train to Hicksville.
Hicks was born in Little Rock, Arkansas on December 9, 1941. His father, Ivan L. Hicks (married to the former Evelyn Kehl), was a career military man. At age five, an only child, Hicks moved with his family to California, eventually settling north of San Francisco in Santa Rosa, where he was a drummer in grade school and played the snare drum in his school marching band.
At 14, he was performing with area dance bands. While in high school, he had a rotating spot on Time Out for Teens, a daily 15-minute local radio program, and he went on to study broadcasting at San Francisco State College during the late 1950s and early 1960s.
Taking up the guitar in 1959, he became part of the San Francisco folk music scene, performing at local coffeehouses. Hicks joined the San Francisco band The Charlatans in 1965 as drummer.
In 1967, Hicks formed Dan Hicks and His Hot Licks with violinist David LaFlamme. LaFlamme left to form It's a Beautiful Day, and was quickly replaced by jazz violinist "Symphony" Sid Page. Vocalists Sherry Snow and Christine Gancher, guitarist Jon Weber, and bassist Jaime Leopold filled out the band, unusual in having no drummer. This line-up was signed to Epic and in 1969 issued the album Original Recordings, produced by Bob Johnston. The first Hot Licks line-up lasted until 1971 and then disintegrated.
When Hicks reformed the band, Page and Leopold remained, and vocalists Naomi Ruth Eisenberg and Maryann Price joined, followed later by guitarist John Girton. This group recorded three albums, culminating in 1973's Last Train to Hicksville (on which the group first added a drummer). After existing as a critical success only, this last album gained the group wider acclaim, as evidenced by Hicks' appearance on the cover of Rolling Stone. Thus, it was a great surprise to many when he chose that moment to disband the Hot Licks. Asked why in 1974, he said:
"I didn't want to be a bandleader anymore. It was a load and a load I didn't want. I'm basically a loner... I like singing and stuff, but I didn't necessarily want to be a bandleader. The thing had turned into a collective sort of thing – democracy, vote on this, do that. I conceived the thing. They wouldn't be there if it wasn't for me. My role as leader started diminishing, but it was my fault because I let it happen; I cared less as the thing went on."
As time passed, this particular Hot Licks band became Hicks' "classic" band, in part due to Page's passionate fiddling, combining swing and classical training, as well as Price's sultry jazz vocals in the style of Anita O'Day, reflecting her pre-Hicks performing experience. This particular group reunited for a 1991 taping of an hour-long Austin City Limits television broadcast in the 1992 season.
The 1992 reunion program also featured Hicks' new group, The Acoustic Warriors, a combination of folk, swing, jazz and country styles. The Acoustic Warriors band consisted of Dan Hicks, Brian Godchaux on violin and mandolin, Paul "Pazzo" Mehling (founder of the Hot Club of San Francisco) on guitar and Richard Saunders on bass.
In 1993 the Acoustic Warriors continued to perform locally around San Francisco and on the road, but this edition placed Paul Robinson on guitar, Nils Molin or Alex Baum on string bass, Stevie Blacke on mandolin and Josh Riskin on drums.
Hicks recorded one CD with the Acoustic Warriors. Shootin' Straight was released by Private Music in 1996. Recorded live at McCabe's in Santa Monica, it featured Jim Boggio on accordion/piano, Stevie Blacke on mandolin/violin, Paul Robinson on guitar, Alex Baum on bass and Bob Scott on drums.
Hicks continued to play in bands of other names, and he also began using the Hot Licks name again.
Michael Goldberg reviewed Hicks' comeback album, Beatin' the Heat (2000):
"When he first appeared on the scene in the '60s, Hicks was a young guy playing old sounds. But there was something fresh, even original about his approach then, and he hasn't lost his special touch. His voice and his sly, humorous point of view set him apart from any crowd. Now that he's an old-timer, his music seems even more solid and substantial.
Dan Hicks has the coolest friends. On his wonderful new album, Beatin' the Heat (Surfdog), his first in years—Hicks gets some help from Elvis Costello, Rickie Lee Jones, Bette Midler, Tom Waits along with recent swing revivalist and onetime Stray Cats guitarist Brian Setzer. But Hicks—who for many years seemed to be hangin' around Mill Valley not doing a whole lot of anything—knows this may be his chance for a real comeback. He doesn't waste his shot, getting great work from his guests without letting them dominate. His voice—which suggests a straw boater hat, handlebar mustache, bow tie, seersucker suit and spats—is front and center, even when he's dueting with Costello or Jones. "Meet Me on the Corner," a highlight here, finds Setzer delivering a burning rockabilly guitar solo and Costello offering a frantic vocal, all the better to show off Hicks' singing and writing. Going head to head with Waits on "I'll Tell You Why That Is," a song way over in Waits' territory, Hicks still stands out. (Waits' vocal turn is a knockout too—not to be missed.)
I even think some of the songs that feature no one but Hicks and his current version of the Hot Licks (Sid Page on violin, Kevin Smith on upright bass, Gregg Bissonette on drums, and Jessica Harper and Karla De Vito on background vocals), such as "Hummin' To Myself" and "He Don't Care," may be the strongest here... Hicks' arrangements make use of banjo, fiddle and Django Reinhardt–like jazz guitar at times. He uses doo-wop style harmony singers to play against affable lead vocals laced with dry, dry humor.
The Surfdog album reinvigorated Hicks, and the guests reflected their longtime admiration for the Hot Licks. This Surfdog success led to several more albums for Surfdog, including a 2007 downloadable compilation of Hicks's previously released duets. Until his final bout with cancer, Dan and the Hot Licks continued to tour internationally.
As a side venture, in recent years Dan occasionally played jazz standards at intimate venues in the San Francisco Bay Area with Bayside Jazz. Backed by a combo of Hot Licks, Acoustic Warriors and other seasoned pros, he put his spin on standards.
“The Swinger", The Oxford American, Nov.2007, by David Smay:
“Nobody’s ever come up with a proper label for Dan Hicks. That’s partly because he leapt over the vast jazz divide created by bop. Bebop subdivided the rhythm and broke the melody into cubist fragments until swing was something you did between your ears instead of out on the dance floor. But there was a time from the ’20s through the ’40s when swing—“hot rhythm”—rippled through every form of popular music. That’s the music Dan Hicks plays, and there’s no single word for it because it wasn’t limited to any one genre. Django Reinhardt, the Mills Brothers, Spade Cooley, Hank Garland, the Boswell Sisters, Stuff Smith, and Bing Crosby all swung. You can make yourself nutty trying to define what Dan Hicks is. Then again, you could just say: Dan Hicks swings. And while he may be an idler and a roué, nobody’s written ten better songs about breezing down the road than Dan Hicks. And in the rarefied genre of songs about buzzards & bacon grease, well, he’s the master.”
Onstage at the Carouse; in Missoula, Montana in the Fall of 1987, he described his music as "folk jazz".
Billboard Music Biography of Dan Hicks:
”Throughout his decades-long career, Dan Hicks stood as one of contemporary music's true eccentrics. While steeped in folk, his acoustic sound knew few musical boundaries, drawing on country, call-and-response vocals, jazz phrasing, and no small amount of humor to create a distinctive, albeit sporadic, body of work which earned him a devoted cult following.”
Dan describing his music in a July 3, 2007 interview before a gig at the Riverwalk Center in Breckenridge, CO (YouTube):
"My music is kind of a blending. We have acoustic instruments. It starts out with kind of a folk music sound, and we add a jazz beat and solos and singing. We have the two girls that sing, and jazz violin, and all that, so it's kind of light in nature, it's not loud. And, it's sort of, in a way, kinda carefree. Most of the songs are, I wouldn't say funny, but kinda maybe a little humorous. We all like jazz, so we like to play in a jazzy way, with a swing sound you know, so I call it "folk swing". There are a lot of original tunes that I've been writing through the years, so that has its personal touch on it."
Hicks was in the San Francisco band The Charlatans, but is perhaps best known for his work with "Dan Hicks and his Hot Licks" which existed from sometime in the mid-1960s until 1973, culminating in the album Last Train to Hicksville.
Hicks was born in Little Rock, Arkansas on December 9, 1941. His father, Ivan L. Hicks (married to the former Evelyn Kehl), was a career military man. At age five, an only child, Hicks moved with his family to California, eventually settling north of San Francisco in Santa Rosa, where he was a drummer in grade school and played the snare drum in his school marching band.
At 14, he was performing with area dance bands. While in high school, he had a rotating spot on Time Out for Teens, a daily 15-minute local radio program, and he went on to study broadcasting at San Francisco State College during the late 1950s and early 1960s.
Taking up the guitar in 1959, he became part of the San Francisco folk music scene, performing at local coffeehouses. Hicks joined the San Francisco band The Charlatans in 1965 as drummer.
In 1967, Hicks formed Dan Hicks and His Hot Licks with violinist David LaFlamme. LaFlamme left to form It's a Beautiful Day, and was quickly replaced by jazz violinist "Symphony" Sid Page. Vocalists Sherry Snow and Christine Gancher, guitarist Jon Weber, and bassist Jaime Leopold filled out the band, unusual in having no drummer. This line-up was signed to Epic and in 1969 issued the album Original Recordings, produced by Bob Johnston. The first Hot Licks line-up lasted until 1971 and then disintegrated.
When Hicks reformed the band, Page and Leopold remained, and vocalists Naomi Ruth Eisenberg and Maryann Price joined, followed later by guitarist John Girton. This group recorded three albums, culminating in 1973's Last Train to Hicksville (on which the group first added a drummer). After existing as a critical success only, this last album gained the group wider acclaim, as evidenced by Hicks' appearance on the cover of Rolling Stone. Thus, it was a great surprise to many when he chose that moment to disband the Hot Licks. Asked why in 1974, he said:
"I didn't want to be a bandleader anymore. It was a load and a load I didn't want. I'm basically a loner... I like singing and stuff, but I didn't necessarily want to be a bandleader. The thing had turned into a collective sort of thing – democracy, vote on this, do that. I conceived the thing. They wouldn't be there if it wasn't for me. My role as leader started diminishing, but it was my fault because I let it happen; I cared less as the thing went on."
As time passed, this particular Hot Licks band became Hicks' "classic" band, in part due to Page's passionate fiddling, combining swing and classical training, as well as Price's sultry jazz vocals in the style of Anita O'Day, reflecting her pre-Hicks performing experience. This particular group reunited for a 1991 taping of an hour-long Austin City Limits television broadcast in the 1992 season.
The 1992 reunion program also featured Hicks' new group, The Acoustic Warriors, a combination of folk, swing, jazz and country styles. The Acoustic Warriors band consisted of Dan Hicks, Brian Godchaux on violin and mandolin, Paul "Pazzo" Mehling (founder of the Hot Club of San Francisco) on guitar and Richard Saunders on bass.
In 1993 the Acoustic Warriors continued to perform locally around San Francisco and on the road, but this edition placed Paul Robinson on guitar, Nils Molin or Alex Baum on string bass, Stevie Blacke on mandolin and Josh Riskin on drums.
Hicks recorded one CD with the Acoustic Warriors. Shootin' Straight was released by Private Music in 1996. Recorded live at McCabe's in Santa Monica, it featured Jim Boggio on accordion/piano, Stevie Blacke on mandolin/violin, Paul Robinson on guitar, Alex Baum on bass and Bob Scott on drums.
Hicks continued to play in bands of other names, and he also began using the Hot Licks name again.
Michael Goldberg reviewed Hicks' comeback album, Beatin' the Heat (2000):
"When he first appeared on the scene in the '60s, Hicks was a young guy playing old sounds. But there was something fresh, even original about his approach then, and he hasn't lost his special touch. His voice and his sly, humorous point of view set him apart from any crowd. Now that he's an old-timer, his music seems even more solid and substantial.
Dan Hicks has the coolest friends. On his wonderful new album, Beatin' the Heat (Surfdog), his first in years—Hicks gets some help from Elvis Costello, Rickie Lee Jones, Bette Midler, Tom Waits along with recent swing revivalist and onetime Stray Cats guitarist Brian Setzer. But Hicks—who for many years seemed to be hangin' around Mill Valley not doing a whole lot of anything—knows this may be his chance for a real comeback. He doesn't waste his shot, getting great work from his guests without letting them dominate. His voice—which suggests a straw boater hat, handlebar mustache, bow tie, seersucker suit and spats—is front and center, even when he's dueting with Costello or Jones. "Meet Me on the Corner," a highlight here, finds Setzer delivering a burning rockabilly guitar solo and Costello offering a frantic vocal, all the better to show off Hicks' singing and writing. Going head to head with Waits on "I'll Tell You Why That Is," a song way over in Waits' territory, Hicks still stands out. (Waits' vocal turn is a knockout too—not to be missed.)
I even think some of the songs that feature no one but Hicks and his current version of the Hot Licks (Sid Page on violin, Kevin Smith on upright bass, Gregg Bissonette on drums, and Jessica Harper and Karla De Vito on background vocals), such as "Hummin' To Myself" and "He Don't Care," may be the strongest here... Hicks' arrangements make use of banjo, fiddle and Django Reinhardt–like jazz guitar at times. He uses doo-wop style harmony singers to play against affable lead vocals laced with dry, dry humor.
The Surfdog album reinvigorated Hicks, and the guests reflected their longtime admiration for the Hot Licks. This Surfdog success led to several more albums for Surfdog, including a 2007 downloadable compilation of Hicks's previously released duets. Until his final bout with cancer, Dan and the Hot Licks continued to tour internationally.
As a side venture, in recent years Dan occasionally played jazz standards at intimate venues in the San Francisco Bay Area with Bayside Jazz. Backed by a combo of Hot Licks, Acoustic Warriors and other seasoned pros, he put his spin on standards.
“The Swinger", The Oxford American, Nov.2007, by David Smay:
“Nobody’s ever come up with a proper label for Dan Hicks. That’s partly because he leapt over the vast jazz divide created by bop. Bebop subdivided the rhythm and broke the melody into cubist fragments until swing was something you did between your ears instead of out on the dance floor. But there was a time from the ’20s through the ’40s when swing—“hot rhythm”—rippled through every form of popular music. That’s the music Dan Hicks plays, and there’s no single word for it because it wasn’t limited to any one genre. Django Reinhardt, the Mills Brothers, Spade Cooley, Hank Garland, the Boswell Sisters, Stuff Smith, and Bing Crosby all swung. You can make yourself nutty trying to define what Dan Hicks is. Then again, you could just say: Dan Hicks swings. And while he may be an idler and a roué, nobody’s written ten better songs about breezing down the road than Dan Hicks. And in the rarefied genre of songs about buzzards & bacon grease, well, he’s the master.”
Onstage at the Carouse; in Missoula, Montana in the Fall of 1987, he described his music as "folk jazz".
Billboard Music Biography of Dan Hicks:
”Throughout his decades-long career, Dan Hicks stood as one of contemporary music's true eccentrics. While steeped in folk, his acoustic sound knew few musical boundaries, drawing on country, call-and-response vocals, jazz phrasing, and no small amount of humor to create a distinctive, albeit sporadic, body of work which earned him a devoted cult following.”
Dan describing his music in a July 3, 2007 interview before a gig at the Riverwalk Center in Breckenridge, CO (YouTube):
"My music is kind of a blending. We have acoustic instruments. It starts out with kind of a folk music sound, and we add a jazz beat and solos and singing. We have the two girls that sing, and jazz violin, and all that, so it's kind of light in nature, it's not loud. And, it's sort of, in a way, kinda carefree. Most of the songs are, I wouldn't say funny, but kinda maybe a little humorous. We all like jazz, so we like to play in a jazzy way, with a swing sound you know, so I call it "folk swing". There are a lot of original tunes that I've been writing through the years, so that has its personal touch on it."
It's Only A Paper Moon
Dan Hicks Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Say, it's only a paper moon
Sailing over a cardboard sea
But it wouldn't be make-believe
If you believed in me
Yes, it's only a canvas sky
Hanging over a muslin tree
But it wouldn't be make-believe
If you believed in me
Without your love
It's a honky tonk parade
Without your love
It's a melody played in a penny arcade
It's a Barnum and Bailey world
Just as phony as it can be
But it wouldn't be make-believe
If you believed in me
Say, it's only a paper moon
Sailing over a cardboard sea
But it wouldn't be make-believe
If you believed in me
Yes, it's only a canvas sky
Hanging over a muslin tree
But it wouldn't be make-believe
If you believed in me
Without your love
It's a honky-tonk parade
Without your love
It's a melody played in a penny arcade
It's a Barnum and Bailey world
Just as phony as it can be
But it wouldn't be make-believe
If you believed in me
It's phony it's plain to see
How happy I would be
If you believed in me
Sailing over a cardboard sea
But it wouldn't be make-believe
If you believed in me
Yes, it's only a canvas sky
Hanging over a muslin tree
But it wouldn't be make-believe
Without your love
It's a honky tonk parade
Without your love
It's a melody played in a penny arcade
It's a Barnum and Bailey world
Just as phony as it can be
But it wouldn't be make-believe
If you believed in me
Say, it's only a paper moon
Sailing over a cardboard sea
But it wouldn't be make-believe
If you believed in me
Yes, it's only a canvas sky
Hanging over a muslin tree
But it wouldn't be make-believe
If you believed in me
Without your love
It's a honky-tonk parade
Without your love
It's a melody played in a penny arcade
It's a Barnum and Bailey world
Just as phony as it can be
But it wouldn't be make-believe
If you believed in me
It's phony it's plain to see
How happy I would be
If you believed in me
Dan Hicks's song "It's Only a Paper Moon" is a ballad reflecting on the power of belief and imagination during difficult times. The lyrics describe a world made of imitation materials - cardboard sea, canvas sky, and muslin trees. The world is phony, but it wouldn't be make-believe if the person the singer is addressing believed in him. The chorus repeats the statement that a world made of paper and canvas would be real if their love was present. The lack of love turns the world into a honky tonk parade or a melody played in a penny arcade.
The song's underlying message is that love has the power to transform the world into a better place. The world may be made of imitation materials, but the love between the two people is real and has the ability to make the world a genuinely happy place. The song is an excellent tribute to the idea of hope, optimism, and positive thinking, urging people to believe in themselves and their ability to create a better world.
Line by Line Meaning
Say, it's only a paper moon
I am admitting that what I am about to say may seem like a trivial or false statement
Sailing over a cardboard sea
This is a metaphor for something that is not real, like a dream or a fantasy
But it wouldn't be make-believe
Even though it may seem unreal, it can become real if you believe in it
If you believed in me
The key to making dreams come true is having someone to support and believe in you
Yes, it's only a canvas sky
This is another metaphor for something that is not real, but that can become real with faith and optimism
Hanging over a muslin tree
This creates a beautiful image of a sky that looks real, but is actually just a backdrop
Without your love
Life is incomplete and lacking in joy
It's a honky tonk parade
Without love, life feels like a cheap and uninspired show full of noise and chaos
It's a melody played in a penny arcade
This is a metaphor for a life that is monotonous and repetitive, without any real emotional depth
It's a Barnum and Bailey world
The world is a spectacle that is full of illusions, like a circus or a magic show
Just as phony as it can be
The world is often fake and shallow, and it takes a lot of faith to see beyond the illusions
It's phony it's plain to see
The world may seem fake and phony, but there is still hope for those who believe in something more
How happy I would be
Despite the challenges and illusions of life, true happiness is possible when we have someone to believe in us
If you believed in me
This is the key to making dreams come true and finding happiness in life
Lyrics © BMG Rights Management, S.A. MUSIC, Universal Music Publishing Group, Downtown Music Publishing, Warner Chappell Music, Inc.
Written by: Billy Rose, E. Y. Harburg, Harold Arlen
Lyrics Licensed & Provided by LyricFind
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