Singer-songwriter Dan Hicks (born December 9, 1941; died February 6, 2016) … Read Full Bio ↴Singer-songwriter Dan Hicks (born December 9, 1941; died February 6, 2016) was truly an American original. 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 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."
Sweetheart
Dan Hicks & His Hot Licks Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sweetheart, but it doesn't beat for me
It beats softly in love but not for me
Sweet lips I know I'll never kiss
You're what I'm afraid I must miss
I'm a waitress in the donut shop
I see him on his morning stop
He talks of love but he's thinking of his sweetheart
She gives him a rough time
He gives me his dime and then parts
Soft sighs, soft and pretty moans
In dreams I can make you my own
I'm a waitress in the donut shop
I see him on his morning stop
He talks of love but he's talking about his sweetheart
She gives him a rough time
He gives me his dime and then parts
Soft sighs, soft and pretty moans
In dreams I can make you my own
In dreams I can make you my own
It beats softly in love but not for me
Sweet lips I know I'll never kiss
You're what I'm afraid I must miss
I'm a waitress in the donut shop
I see him on his morning stop
He talks of love but he's thinking of his sweetheart
He gives me his dime and then parts
Soft sighs, soft and pretty moans
In dreams I can make you my own
I'm a waitress in the donut shop
I see him on his morning stop
He talks of love but he's talking about his sweetheart
She gives him a rough time
He gives me his dime and then parts
Soft sighs, soft and pretty moans
In dreams I can make you my own
In dreams I can make you my own
The lyrics of "Sweetheart" by Dan Hicks & His Hot Licks tell a bittersweet tale of unrequited love. The singer, a waitress in a donut shop, sees a man she is infatuated with on his morning stop at the shop. He speaks of love, but he is not speaking about her; he is talking about his sweetheart who gives him a hard time. The singer longs for him, but she knows that he is not hers to have. She dreams of making him hers, but it is only a fantasy. The lyrics convey a sense of longing and heartache, as the singer is left to watch from afar, knowing that she cannot have the man she desires.
The song paints a vivid image of the setting, with the descriptions of the donut shop and the man's morning routine. It also highlights the contrast between the singer's unrequited love and the man's devotion to his sweetheart.
Overall, "Sweetheart" is a poignant and melancholy song that captures the pain of unrequited love.
Line by Line Meaning
Sweetheart, but it doesn't beat for me
His heart beats for someone else and not for me
Sweet lips I know I'll never kiss
I will never have the chance to kiss those lovely lips
You're what I'm afraid I must miss
I fear that I must miss the opportunity to be with you
I'm a waitress in the donut shop
I work at a donut shop as a waitress
I see him on his morning stop
He comes to the donut shop as a regular customer
He talks of love but he's thinking of his sweetheart
He speaks of love to me, but he is thinking of someone else
She gives him a rough time
His sweetheart causes him trouble
He gives me his dime and then parts
He gives me a tip and leaves
Soft sighs, soft and pretty moans
I imagine the sound of his sweet sighs and moans
In dreams I can make you my own
I can only have him in my dreams
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC
Written by: KENNETH BURGAN
Lyrics Licensed & Provided by LyricFind
To comment on or correct specific content, highlight it
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found