Savoy Brown -

Savoy Brown was an English blues-rock band that released eleven albums on Decca between 1967 and 1974, followed by further titles on London, Town House, and Relix during the subsequent decade. Guitarist Kim Simmonds (1947–2022) was the one constant member throughout numerous lineups. Like John Mayall and the Bluesbreakers, Savoy Brown served as a launching pad for musicians on the transatlantic rock scene.

Savoy Brown’s most popular albums include the 1969/70 releases A Step Further, Raw Sienna, and Looking In. The backbone of that lineup — guitarist Dave Peverett, bassist Tony Stevens, and drummer Roger Earl — formed Foghat.

Members: Kim Simmonds (guitar, harmonica, keyboards, vocals), John O’Leary (harmonica, 1965-67), Leo Manning (drums, 1965-67), Bryce Portius (vocals, 1965-67), Ray Chappell (bass, 1965-67), Trevor Jeavons (keyboards, 1965), Bob Hall (keyboards, 1965-70), Chris Youlden (vocals, 1967-70), Bob Brunning (bass, 1967-68), Hughie Flint (drums, 1967-68), Martin Stone (guitar, 1967), Lonesome Dave Peverett (guitar, vocals, 1967-71, 1992-94), Rivers Jobe (bass, 1968), Bill Bruford (drums, 1968), Roger Earl (drums, 1968-71), Tony Stevens (bass, 1968-71), Peter “Scott” Ainsworth (vocals, 1971), Paul Raymond (keyboards, guitar, 1971-76), Dave Bidwell (drums, 1971-75), Dave Walker (vocals, 1971-72, 1986-91), Andy Silvester (bass, 1971-72), Andy Pyle (bass, 1972-74), Ron Berg (drums, 1972-74), Jackie Lynton (vocals, 1972-74), Miller Anderson (guitar, vocals, 1973-74), Eric Dillon (drums, 1973-74), Jim Leverton (bass, 1973-74), Stan Webb (guitar, vocals, 1973-74), Tom Farnell (drums, 1974-78), Andy Rae (bass, 1974-75), Ian Ellis (bass, 1975-78), Don Cook (bass, 1978-80), Richard Carmichael (drums, 1978-80), Keith Boyce (drums, 1980-82), John Humphrey (bass, 1980-82), Ralph Morman (vocals, 1980-82), Steve Lynch (guitar, 1980), Barry Paul (guitar, 1980-82), Speedo Jones (vocals, harmonica, 1985-86), Chris Romanelli (bass, 1985-86), Jimmy Kunes (vocals, 1985-88), Duck MacDonald (guitar, 1986-88), Jeff Howell (bass, 1986-88), Garry Bordonaro (bass, 1986-88), Joe Hasselvander (drums, 1986-88), Jimmy Dagnesi (bass, 1986-89), Al Macomber (drums, 1986-89), Shmutza-Hideous (percussion, 1986-88), Miffy Smith (keyboards, 1986-88), Pete Mendillo (drums, 1989-91), Lou Kaplan (bass, 1989-90)

Background

Savoy Brown formed as the Savoy Brown Blues Band in Battersea, southwest London, in 1965, when guitarist Kim Simmonds and harmonica player John O’Leary assembled singer Brice Portius, bassist Ray Chappell, keyboardist Trevor Jeavons, and drummer Leo Manning.

Simmonds was born Kim Maiden Simmonds on December 5, 1947, in Newbridge, Wales. His older brother Harry Simmonds brought rock-and-roll, R&B, and blues records into the home and later managed the group. A childhood move took the Simmonds family to South London. Kim bought his first guitar at thirteen and soon changed to an electric Hofner. By his mid-teens, he attended London blues clubs and worked a clerical post at the Ministry of Defence in Whitehall.

John O’Leary came from an Irish family in postwar England. He took up harmonica as a teenager, inspired by London jazz-club sets by Cyril Davies with Alexis Korner’s Blues Incorporated. By the time he met Simmonds outside Transat Imports in Soho, O’Leary worked for an American chemical company.

Trevor Jeavons left during the first months, and pianist Bob Hall entered the lineup before the band’s first recording. Hall was born Robert Leonard Hall on June 13, 1942, in West Byfleet, Surrey. He grew up in Bermondsey and earned a 1963 Bachelor of Science degree from Durham University. By his teens, Hall led a South London dance band. After university, he answered a Melody Maker advertisement for a blues-band pianist and joined The Groundhogs, who backed John Lee Hooker on a 1964 British tour, and Hall also played behind Jimmy Reed and Little Walter.

Early Activity

Simmonds and O’Leary named the group Savoy Brown Blues Band, intended to convey a mix of elegance and simplicity: “Savoy,” taken from the American blues label Savoy Records, is a word Simmonds found elegant; “Brown” because it signifies plainness.

In May 1966, they opened Kilroy’s in an upstairs room at the Nag’s Head Tavern on York Road in Battersea. Harry Simmonds managed the band and used his Post Office van for transport to early jobs. The club drew local press notice and brought the band to Mike Vernon, a Decca producer with his own Purdah label.

On August 2, 1966, Brian Wilcock put Savoy Brown into the interval slot for Cream at Klook’s Kleek in West Hampstead. The appearance brought more bookings at London and Birmingham clubs. They entered Wessex Sound Studio and cut four songs: “Cold Blooded Woman,” “True Blue,” and both sides of their debut single, “I Tried” (b/w “I Can’t Quit You Baby”), issued on Purdah.

Before the first album, O’Leary departed for the John Dummer Blues Band.

Shake Down

Savoy Brown Blues Band released their debut album, Shake Down, in September 1967 on Decca.

Shake Down presents Chicago blues material and one Stone original in a five-piece format with pianist Bob Hall on selected tracks. The album contains covers associated with Willie Dixon, B.B. King, Albert King, Howlin’ Wolf, John Lee Hooker, and Lowell Fulson, with “The Doormouse Rides the Rails” as the lone band-written title.

“I Ain’t Superstitious” clenches around Portius’s rough front vocal, Bob Hall piano, and Simmonds–Stone licks. “Black Night” dazes through the changed Vietnam image and a Simmonds solo. “High Rise” salutes Freddie King through a compact instrumental turn. “The Doormouse Rides the Rails” motors through a Freddie King-inspired instrumental figure. “Shake ’Em On Down” barrels through an extended raucous workout with Hall piano and rolling live-room pressure.

A1. “I Ain’t Superstitious” (3:25) – Dixon
A2. “Let Me Love You Baby” (3:00) – Dixon
A3. “Black Night” (4:47) – Robinson
A4. “High Rise” (2:44) – Bridge, Thompson, King
A5. “Rock Me Baby” (2:56) – King, Josea
A6. “I Smell Trouble” (4:28) – Malone

B1. “Oh! Pretty Woman” (2:28) – King
B2. “Little Girl” (1:38) – Burnett
B3. “The Doormouse Rides the Rails” (3:32) – Stone
B4. “It’s My Own Fault” (4:55) – Hooker
B5. “Shake ’Em On Down” (6:00) – traditional; Hall, Savoy Brown arrangement

Savoy Brown Blues Band recorded Shake Down in mid-1967 at Decca Studios in West Hampstead with Bluesbreakers producer Mike Vernon and engineer Gus Dudgeon, who both worked in sequence on the debut albums by David Bowie and Ten Years After.

Parrot lifted “Shake ’Em on Down” as a 1968 single.

Getting to the Point

Savoy Brown released their second album, Getting to the Point, in July 1968 on Decca.

Getting to the Point introduces singer Chris Youlden and guitarist Dave Peverett to the album lineup, with bassist Rivers Jobe and drummer Roger Earl. The album contains group originals, two Simmonds instrumentals, a traditional title, and covers of Muddy Waters (“Honey Bee”) and Willie Dixon (“You Need Love”).

“Flood in Houston” broods over a tentative Simmonds figure and Youlden’s thick vocal before Peverett enters at the solo and the fade cuts the lead. “Stay With Me Baby” bounces through Hall rolls and trills, with Youlden relaxed and Simmonds adding fills. “Honey Bee” slows to two-guitar restraint, with Youlden held against the empty spaces between notes. “The Incredible Gnome Meets Jaxman” shuffles from unison phrases into traded answers before Simmonds takes the release.

“Give Me a Penny” clenches a ticking-clock beat around Youlden’s begging vocal and a barbed Simmonds solo. “Mr. Downchild” rises from whisper-quiet vocal and tom-tom accents into a raw second Simmonds solo. “Getting to the Point” shuffles through fuzzed instrumental figures, Hall piano, and a loose low end. “Big City Lights” kicks back after the opening figure, then sets Youlden’s mellow vocal against Hall–Simmonds answers. “You Need Love” turns into an end-of-set rave-up with dueling leads, bass solo, and drum solo.

A1. “Flood in Houston” (4:49) – Simmonds, Youlden
A2. “Stay with Me Baby” (2:21) – Simmonds, Youlden, Peverett
A3. “Honey Bee” (6:23) – Morganfield
A4. “The Incredible Gnome Meets Jaxman” (3:29) – Simmonds

B1. “Give Me a Penny” (3:23) – traditional
B2. “Mr. Downchild” (5:31) – Simmonds, Youlden
B3. “Getting to the Point” (4:48) – Simmonds
B4. “Big City Lights” (4:16) – Hall, Youlden
B5. “You Need Love” (3:23) – Dixon

Savoy Brown recorded Getting to the Point in March 1968 at Decca Studios in West Hampstead with Mike Vernon, who recently co-founded the blues-rock specialty label Blue Horizon, which housed the debuts of Chicken Shack and Fleetwood Mac. Getting to the Point marked the inaugural credit of engineer Roy Thomas Baker, an eventual industry heavy hitter.

Jobe played beforehand in the Charterhouse beat group Anon, a precurssor to Genesis. Before Earl’s tenor, Savoy Brown gigged briefly with a then-unknown Bill Bruford, whose complex drumming proved ill-suited for Simmonds but clicked with his next band, Mabel Greer’s Toyshop, which evolved into Yes.

Blue Matter

Savoy Brown released their third album, Blue Matter, in May 1969 on Decca.

Blue Matter splits its program between studio titles and a live side cut at the City of Leicester College of Education. The studio side features Youlden at the vocal front and includes trombones on “Train to Nowhere,” while the live side places Peverett at the microphone across three extended blues titles.

“Train to Nowhere” grinds through a droning vocal phrase, five-trombone backing, and a train-whistle climax. “Tolling Bells” lingers on mournful Youlden phrases and guitar-piano interplay. “She’s Got a Ring in His Nose and a Ring on Her Hand” swings under Youlden’s playful story vocal. “Vicksburg Blues” lopes on Hall’s thirties-style boogie figures. “Grits Ain’t Groceries” punches through an explosive horn section. “Louisiana Blues” stretches the live side into a largely instrumental showstopper, with Peverett’s vocal breaks and Simmonds riffs.

A1. “Train to Nowhere” (4:12) – Youlden, Simmonds
A2. “Tolling Bells” (6:33) – Youlden
A3. “She’s Got a Ring in His Nose and a Ring on Her Hand” (3:07) – Youlden
A4. “Vicksburg Blues” (4:00) – Youlden
A5. “Don’t Turn Me from Your Door” (5:04) – Hooker

B1. “May Be Wrong” (7:50) – Peverett, Simmonds
B2. “Louisiana Blues” (9:06) – Morganfield
B3. “It Hurts Me Too” (6:53) – Whittaker

Savoy Brown recorded the studio material between March 1968 and January 1969 with Vernon and Baker, then recorded the live titles on December 6, 1968, at City of Leicester College of Education in Scraptoft.

Blue Matter appeared in a sleeve designed and illustrated by David Anstey with monochrome backside photography by David Wedgbury, a Decca staff photographer noted for the iconic 1966 cover of Blues Breakers with Eric Clapton.

Blue Matter reached No. 182 on the Billboard 200.

A Step Further

Savoy Brown released their fourth album, A Step Further, in October 1969 on Decca.

A Step Further pairs five studio titles with the side-long live medley “Savoy Brown Boogie.” The album marks the first Savoy Brown LP appearance by bassist Tony Stevens, who joined Youlden, Peverett, Simmonds, Earl, and Hall.

“Made Up My Mind” rolls through handclaps, horn accents, and Youlden’s hearty vocal. “Waiting in the Bamboo Grove” pumps an instrumental brass chart over Simmonds’s guitar figure. “Life’s One Act Play” broods under a string section while Youlden holds the reflective vocal. “I’m Tired” barrels through a tight, danceable rhythm and another full Youlden vocal.

“Savoy Brown Boogie” guzzles through a live medley that folds “Feel So Good,” “Whole Lotta Shakin’ Goin On,” “Little Queenie,” “Purple Haze,” and “Hernando’s Hideaway” into one long stage stretch.

A1. “Made Up My Mind” (2:56) – Youlden
A2. “Waiting in the Bamboo Grove” (3:37) – Simmonds
A3. “Life’s One Act Play” (6:29) – Youlden
A4. “I’m Tired” (3:21) – Youlden
A5. “Where Am I” (1:51) – Youlden

B1. “Savoy Brown Boogie” (22:02) – Simmonds, Youlden, Willis, David, Williams, Berry, Hendrix, Adler, Ross

Savoy Brown recorded the studio titles in 1969 and the side-long live medley on May 12, 1969, at Cooks Ferry Inn in Edmonton. Vernon produced the album with Decca Studios engineer Dave Grinsted, whose surrounding work includes the 1969 albums by Ashkan (In From the Cold), Martha Veléz (Fiends and Angels), and ’Igginbottom (Wrench).

A Step Further appeared in a gatefold sleeve with cover photography by Terence Ibbott. Ibbott was a Blue Horizon designer and photographer whose late-sixties credits include the 1968 album by Fleetwood Mac (Mr. Wonderful), the 1969 album by Chicken Shack (100 Ton Chicken), and the 1969 album by Web (Theraphosa Blondi).

Parrot lifted “I’m Tired” as a 1969 single, which reached No. 74 on the Billboard Hot 100 and No. 51 on RPM. A Step Further reached No. 71 on the Billboard 200.

Raw Sienna

Savoy Brown released their fifth album, Raw Sienna, in May 1970 on Decca.

Raw Sienna is the final Savoy Brown album with Youlden, whose six titles sit beside three Simmonds compositions. The album adds brass and string arrangement by Terry Noonan to selected material, with Simmonds and Youlden also credited on keyboards.

“A Hard Way to Go” saunters from a sultry bass riff into Youlden’s mid-tempo vocal. “That Same Feelin’” motors through a brass chart, Earl percussion solo, and Simmonds release. “Master Hare” swaggers through blaring horns, Youlden piano, and a freaky rave-up coda. “Needle and Spoon” punches through horn-powered bustle while Youlden fixes the lyric on heroin. “A Little More Wine” kicks back with bottleneck slide and chiming chords.

“I’m Crying” clenches brassy Chicago-type figures around Youlden’s confessional vocal. “Stay While the Night Is Young” knocks back under Peverett’s acoustic strum and a fluid Simmonds solo. “Is That So” lurches through busted waltz time and a laidback instrumental motif. “When I Was a Young Boy” lingers with Youlden at the piano and orchestral backing.

A1. “A Hard Way to Go” (2:17) – Youlden
A2. “That Same Feelin’” (3:36) – Youlden
A3. “Master Hare” (4:45) – Youlden
A4. “Needle and Spoon” (3:17) – Youlden
A5. “A Little More Wine” (4:55) – Youlden

B1. “I’m Crying” (4:17) – Simmonds
B2. “Stay While the Night Is Young” (3:09) – Simmonds
B3. “Is That So” (7:44) – Simmonds
B4. “When I Was a Young Boy” (3:02) – Youlden

Savoy Brown recorded Raw Sienna in 1969 at Recorded Sound Studios in London. Simmonds and Youlden produced and arranged the album with recording engineer Paul Tregurtha, whose adjacent credits include the Steamhammer debut and Mk II. Malcolm Addey, a veteran engineer from the British studio system, mixed the album.

Raw Sienna features artwork by Ignatz. The sleeve places the band name and title across a drawn, tinted image with an earth-pigment cue.

Decca lifted “A Hard Way to Go” as a May 1970 single (b/w “Waiting in the Bamboo Grove”). Raw Sienna reached No. 121 on the Billboard 200 and No. 75 on RPM.

Looking In

Savoy Brown released their sixth album, Looking In, in November 1970 on Decca.

Looking In presents Savoy Brown as a quartet after Youlden’s exit, with Peverett as lead singer beside Simmonds, Stevens, and Earl. Conga player Owen Finnegan appears on selected tracks, and the program contains Simmonds–Peverett–Stevens originals across both sides.

“Gypsy” sketches a brief instrumental figure that returns at the exit as “Romanoff.” “Poor Girl” grinds on a slow dark vamp before Simmonds’s wah-wah solo. “Money Can’t Save Your Soul” dazes through Peverett’s pleading vocal and Simmonds licks. “Sunday Night” kicks back with smooth ease, tom accents, and a steady-rolling jam. “Looking In” slithers over a dark low-end figure.

“Take It Easy” eases through relaxed guitar fingering. “Sitting An’ Thinking” stomps through compact barroom pressure. “Leavin’ Again” stretches through an extended boogie with Peverett vocal breaks, warm bass tone, and a final Simmonds solo. “Romanoff” answers “Gypsy” with the same brief instrumental figure.

A1. “Gypsy” (0:57) – Simmonds
A2. “Poor Girl” (4:05) – Simmonds, Peverett, Stevens
A3. “Money Can’t Save Your Soul” (5:29) – Simmonds, Peverett, Stevens
A4. “Sunday Night” (5:24) – Simmonds, Peverett, Stevens
A5. “Looking In” (5:17) – Simmonds, Peverett, Stevens

B1. “Take It Easy” (5:56) – Simmonds, Peverett, Stevens
B2. “Sitting an’ Thinking” (2:50) – Simmonds, Peverett, Stevens
B3. “Leavin’ Again” (8:29) – Simmonds, Peverett, Stevens
B4. “Romanoff” (1:00) – Simmonds

Savoy Brown recorded Looking In in 1970 at Recorded Sound Studios. Simmonds produced the album with engineers Paul Tregurtha and Eric Holand. Tregurtha carried forward his Recorded Sound role from Raw Sienna after 1969 engineering work with Steamhammer.

Looking In appeared in a gatefold sleeve by David Anstey and Jim Baikie. Baikie, a comics illustrator, joined Anstey on a cover image that frames the band through a literal eye-shaped opening.

Decca lifted “Poor Girl” as a November 1970 single, followed by “Sitting an’ Thinking” in March 1971. Looking In reached No. 39 on the Billboard 200, No. 50 on the UK Albums Chart, No. 25 on the Kent Music Report, and No. 58 on RPM.

Street Corner Talking

Savoy Brown released their seventh album, Street Corner Talking, in September 1971 on Decca.

Street Corner Talking introduces singer Dave Walker, bassist Andy Silvester, keyboardist and guitarist Paul Raymond, and drummer Dave Bidwell after the Peverett–Stevens–Earl lineup formed Foghat. The album contains Simmonds originals, Walker co-writes, and covers of The Temptations (“I Can’t Get Next to You”) and Willie Dixon (“Wang Dang Doodle”).

“Tell Mama” salutes Walker’s full-throated vocal with slide guitar and buoyant lift. “I Can’t Get Next to You” shuffles along a low-slung crawl and Raymond’s keyboard work. “Let It Rock” punches a feisty short-form charge. “All I Can Do” dazes over a deep-feel workout with Simmonds leads up front. “Wang Dang Doodle” barrels into a slick, searing jam.

A1. “Tell Mama” (5:15) – Raymond, Simmonds
A2. “Let It Rock” (3:14) – Simmonds
A3. “I Can’t Get Next to You” (6:33) – Strong, Whitfield
A4. “Time Does Tell” (5:28) – Walker, Simmonds

B1. “Street Corner Talking” (4:00) – Raymond, Simmonds
B2. “All I Can Do” (10:54) – Walker
B3. “Wang Dang Doodle” (7:15) – Dixon

Sessions occured in 1971 at Olympic Studios in London. Blue Horizon co-founder Neil Slaven produced Street Corner Talking with Olympic engineer George Chkiantz and assistant Rod Thear. Slaven entered the project after the 1971 albums by Keef Hartley Band (Overdog) and Pink Fairies (Neverneverland), while Chkiantz worked the same period on the 1970 albums by Slade (Play It Loud) and High Tide (High Tide).

Street Corner Talking features cover illustration by David Anstey. The sleeve extends the Decca-era Savoy Brown run by Anstey after Blue Matter and before the gatefold comic sequence of Hellbound Train.

Parrot lifted “Tell Mama” as an October 1971 single, which reached No. 83 on the Billboard Hot 100. Street Corner Talking reached No. 75 on the Billboard 200 and No. 47 on RPM.

Hellbound Train

Savoy Brown released their eighth album, Hellbound Train, in February 1972 on Decca.

Hellbound Train retains the Walker, Silvester, Raymond, Bidwell, and Simmonds lineup from Street Corner Talking. The album contains seven band originals, with four compact side-one tracks and a side two anchored by the nine-minute title piece.

“Doin’ Fine” rolls through tight boogie and a piano solo. “Lost and Lonely Child” dazes over a slower sway and electric-guitar replies. “I’ll Make Everything Alright” pumps another boogie figure around Raymond’s solo. “Troubled by These Days and Times” settles under churchy piano.

“If I Could See an End” motors back into head-bobbing boogie. “It’ll Make You Happy” knocks back on slow blues pressure and organ work. “Hellbound Train” simmers from heartbeat effect and Walker’s low-burn vocal into a Simmonds jam that cuts off hard.

A1. “Doin’ Fine” (2:46) – Simmonds, Walker
A2. “Lost and Lonely Child” (6:00) – Simmonds, Walker
A3. “I’ll Make Everything Alright” (3:17) – Raymond
A4. “Troubled by These Days and Times” (5:43) – Simmonds

B1. “If I Could See an End” (2:54) – Simmonds, Walker
B2. “It’ll Make You Happy” (3:26) – Walker
B3. “Hellbound Train” (9:07) – Simmonds, Silvester

Savoy Brown recorded Hellbound Train in 1972 at Trident Studios in London. Slaven produced the album for Gruggy Woof with engineer Roy Thomas Baker, whose nearby engineering credits include the 1970 albums by Free (Fire and Water) and Black Widow (Sacrifice) and the 1971 debut by Nazareth.

Hellbound Train appeared in a gatefold sleeve by David Anstey. The package uses a front-cover painting and a black-and-white interior comic sequence tied to the title image.

Hellbound Train reached No. 34 on the Billboard 200 and No. 40 on RPM.

Savoy Brown released their ninth album, Lion’s Share, in 1972 on Decca.

Lion’s Share introduces bassist Andy Pyle beside Walker, Raymond, Bidwell, and Simmonds. The album contains six band originals and covers associated with The Easybeats (“Shot in the Head”), Howlin’ Wolf (“Howlin’ for My Darlin’”), and Little Walter (“I Hate to See You Go”).

“Shot in the Head” barrels through a slide-guitar showcase that stayed in the live set. “Denim Demon” pumps Walker’s own vocal over brisk rolling licks. “Love Me Please” knocks back into slow blues, then gives Simmonds the full guitar showcase.

A1. “Shot in the Head” (4:46) – Vanda, Young
A2. “Second Try” (2:51) – Raymond
A3. “The Saddest Feeling” (4:00) – Raymond
A4. “I Can’t Find You” (3:31) – Raymond, Simmonds
A5. “Howlin’ for My Darlin’” (3:04) – Burnett, Dixon

B1. “So Tired” (4:00) – Simmonds, Walker
B2. “Denim Demon” (4:23) – Walker
B3. “Love Me Please” (3:06) – Raymond, Walker
B4. “I Hate to See You Go” (4:39) – Jacobs

Savoy Brown recorded Lion’s Share at Trident Studios in London. Slaven produced the album with recording engineer Roy Thomas Baker and remix engineer Mike Stone. Baker worked the sessions after 1971 engineering credits for Nazareth and T. Rex, while Stone held adjacent credits on the 1972 albums by America (Homecoming) and Lou Reed (Transformer).

Lion’s Share appeared in London Records packaging with art direction by Vincent Biondi, package concept by Glenn Ross, and illustration by Peter Cross, a later illustrator for Anthony Phillips, starting with the ex-Genesis guitarist’s 1977 debut, The Geese and the Ghost.

Lion’s Share reached No. 151 on the Billboard 200.

Jack the Toad

Savoy Brown released their tenth album, Jack the Toad, in 1973 on Decca.

Jack the Toad introduces singer Jackie Lynton and drummer Ron Berg, with Pyle, Raymond, and Simmonds still in the lineup. The album adds soprano saxophonist Stan Sulzmann, percussionists Frank Ricotti and Barry Murray, and backing vocalists Sue Glover and Sunny Leslie.

“Coming Down Your Way” barrels through Lynton’s front vocal and Simmonds riffs. “Ride On Babe” shuffles with straight-ahead ease and a soulful vocal shade. “Hold Your Fire” smokes through Raymond’s slow setting and Simmonds licks. “If I Want To” kicks back on Lynton’s plain-spoken vocal stance. “Just Cos’ You Got the Blues Don’t Mean You Gotta Sing” leans into Lynton phrasing, Raymond organ, and a long Simmonds release. “Jack the Toad” rides a western-fiction vocal narrative and closes with telling Simmonds figures.

A1. “Coming Down Your Way” (4:40) – Raymond
A2. “Ride on Babe” (3:58) – Lynton, Pyle, Simmonds
A3. “Hold Your Fire” (4:01) – Raymond
A4. “If I Want To” (3:57) – Simmonds
A5. “Endless Sleep” (4:46) – Nance, Reynolds

B1. “Casting My Spell” (3:15) – Johnson, Rebennack
B2. “Just Cos’ You Got the Blues Don’t Mean You Gotta Sing” (5:06) – Lynton, Pyle
B3. “Some People” (6:21) – Raymond
B4. “Jack the Toad” (6:37) – Simmonds

Savoy Brown recorded Jack the Toad with producer Barry Murray and engineer Terry Evennett, a team with recent credits behind Mungo Jerry, Chicken Shack, Finbar & Eddie Furey, and Ray Dorset.

Jack the Toad features gatefold artwork by David Anstey. The sleeve continues the illustrated Savoy Brown sequence that runs through Street Corner Talking and Hellbound Train.

Jack the Toad reached No. 84 on the Billboard 200.

Boogie Brothers

Savoy Brown released their eleventh album, Boogie Brothers, in April 1974 on Decca.

Boogie Brothers rebuilds Savoy Brown around Simmonds, singer and guitarist Miller Anderson, bassist Jim Leverton, drummer Eric Dillon, and Chicken Shack guitarist Stan Webb. The album uses a three-guitar lineup and includes the Bo Diddley cover “You Don’t Love Me.”

“Highway Blues” stomps through Webb’s vocal, Simmonds slide, and a second solo. “Me and the Preacher” slides through bottleneck phrases and three-voice answers. “My Love’s Lying Down” rises from Webb’s near-spoken vocal into a tougher late solo. “You Don’t Love Me” salutes Simmonds harmonica with a midsection duel.

“Always the Same” drops to Anderson’s acoustic strum and Simmonds steel tones. “Everybody Loves a Drinking Man” rolls through coordinated leads and a singalong vocal part. “Rock’n’Roll Star” barrels through Anderson’s vocal and solos from Anderson and Webb. “Boogie Brothers” pumps a stamping title cut with a Simmonds middle solo. “Threegy Blues” simmers as a slow instrumental dialogue.

A1. “Highway Blues” (4:04) – Simmonds
A2. “Me and the Preacher” (3:38) – Anderson
A3. “My Love’s Lying Down” (5:58) – Webb
A4. “You Don’t Love Me” (4:56) – McDaniel

B1. “Always the Same” (2:01) – Anderson
B2. “Everybody Loves a Drinking Man” (3:05) – Anderson
B3. “Rock & Roll Star” (7:11) – Anderson
B4. “Boogie Brothers” (5:19) – Anderson
B5. “Threegy Blues” (2:13) – Simmonds

Savoy Brown recorded Boogie Brothers at Island Studios in London. Savoy Brown and Harry Simmonds produced the album with recording engineer Howard Kilgour and assistant engineer Brian Pickering.

Boogie Brothers appeared in a London Records sleeve with art direction by Glenn Ross, front illustration by Dave Willardson, liner graphics by Pin Stripe Studios, and photography by Michael Putland. Willardson held early-seventies sleeve credits on the 1970 album by Jerry Lee Lewis (There Must Be More to Love Than This), the 1972 album by Little Richard (The Second Coming), and the 1973 soundtrack album American Graffiti.

Boogie Brothers reached No. 101 on the Billboard 200 and No. 95 on RPM. Anderson, fresh off stints with the Keef Hartley Band and Hemlock, reteamed soon after with Hartley in the 1975 one-offs Broken Glass and Dog Soldier.

Wire Fire

Savoy Brown released their twelfth album, Wire Fire, in October 1975 on London Records.

Wire Fire appeared under the credit Savoy Brown Featuring Kim Simmonds. The album returns Raymond to the lineup beside bassist and vocalist Andy Rae, while Bidwell shares drum and percussion credits with Tommy Farnell.

“Put Your Hands Together” bounces through upbeat vocal answers. “Stranger Blues” settles into smooth-edged backing voices. “Hero to Zero” burns on Raymond keyboard work and Simmonds guitar. “Born Into Pain” clenches a live-cut boogie around Raymond’s keys and Simmonds’s lead.

A1. “Put Your Hands Together” (4:57) – Gamble, Huff
A2. “Stranger Blues” (3:30) – James, Lewis, Robinson
A3. “Here Comes the Music” (5:45) – Savoy Brown
A4. “Ooh What a Feeling” (7:00) – Savoy Brown

B1. “Hero to Zero” (5:14) – Ellington
B2. “Deep Water” (3:24) – Rose, Seal
B3. “Can’t Get On” (4:21) – Savoy Brown
B4. “Born Into Pain” (6:07) – Savoy Brown

Simmonds and Raymond co-produced Wire Fire, engineered at Olympic by returning soundmen George Chkiantz and Terry Evennett.

Wire Fire appeared in a London Records sleeve with art direction and design by Glenn Ross. Ross had already shaped the package concept for Lion’s Share and the art direction for Boogie Brothers.

Wire Fire reached No. 153 on the Billboard 200.

Skin ’n’ Bone

Savoy Brown released their thirteenth album, Skin ’n’ Bone, in April 1976 on London Records.

Skin ’n’ Bone presents the Simmonds, Raymond, Ian Ellis, and Farnell lineup as a quartet. The album contains five Raymond–Simmonds titles and the Hank Ballard cover “She’s the One,” while the second side ends with the twelve-minute “Walkin’ and Talkin’.”

“Get On Up and Do It” barrels through a short, simple charge under Simmonds’s lead grip. “Part Time Lady” stomps with blunt mid-seventies weight. “She’s the One” punches another short-form cut with a soulful vocal shade. “Skin ’n’ Bone” stretches into concert-like stage material. “Walkin’ and Talkin’” guzzles through a long live-room jam and a fast Simmonds solo.

A1. “Get on up and Do It” (3:13) – Raymond, Simmonds
A2. “Part Time Lady” (5:00) – Raymond, Simmonds
A3. “This Day Is Gonna Be Our Last” (5:21) – Raymond, Simmonds
A4. “She’s the One” (3:36) – Ballard

B1. “Skin ’n’ Bone” (7:42) – Raymond, Simmonds
B2. “Walkin’ and Talkin’” (12:14) – Raymond, Simmonds

Savoy Brown produced and arranged Skin ’n’ Bone with engineer Howard Kilgour, who returned from Boogie Brothers, giving the 1974–76 London Records albums by Savoy Brown a shared engineering credit.

Skin ’n’ Bone features artwork by David Anstey. The sleeve gives Anstey one last credited Savoy Brown album cover after Blue Matter, Looking In, Street Corner Talking, Hellbound Train, and Jack the Toad.

Skin ’n’ Bone reached No. 206 on the Billboard 200.

Savage Return

Savoy Brown released their fourteenth album, Savage Return, in 1978 on London Records.

Savage Return resumes Savoy Brown as a trio with Simmonds, bassist and lead singer Ian Ellis, and drummer Tommy Farnell. The album contains nine Ellis titles and uses a compact lineup after the group’s mid-seventies hiatus.

“Rock ’n’ Roll Man” motors through the stripped-down trio setup, with Ellis up front and Simmonds carrying the lead work.

A1. “The First Night” (3:16)
A2. “Don’t Do It Baby, Do It” (4:16)
A3. “Spirit High” (3:13)
A4. “Play It Right” (4:01)
A5. “Walk Before You Run” (4:37)

B1. “My Own Man” (3:52)
B2. “I’m Alright Now” (4:57)
B3. “Rock ’n’ Roll Man” (3:39)
B4. “Double Lover” (6:10)

Savoy Brown recorded Savage Return with producer and mixing engineer Robert John “Mutt” Lange and engineer Ted Sharpe. Lange worked in sequence on 1978 albums by the Boomtown Rats (A Tonic for the Troops), City Boy (Book Early), and Deaf School (English Boys, Working Girls).

Savage Return appeared in a sleeve with design and art direction by Cyd Kilbey. The cover shifts the London Records presentation by Savoy Brown away from the illustrated Anstey sequence of the prior decade.

Savage Return reached No. 208 on the Billboard 200.

Rock ’n’ Roll Warriors

Savoy Brown released their fifteenth album, Rock ’n’ Roll Warriors, in 1981 on Town House.

Rock ’n’ Roll Warriors introduces singer Ralph Morman, guitarist Barry Paul, bassist John Humphrey, and drummer Keith Boyce beside Simmonds. Keyboardist John Sinclair appears across the album, with backing vocals by Riba Gleich, Linda Lawley, Sue Richman, and Andrea Robinson. The album includes covers of Doctor Clayton (“Cold Hearted Woman”) and Chinn–Chapman (“Lay Back in the Arms of Someone”).

“Lay Back in the Arms of Someone” eases into a large pop-rock swell behind Morman’s front vocal. “Shot Down By Love” punches with Wise’s harder studio bite and Morman’s controlled delivery. “Run to Me” smooths the Morman vocal into a broad cover setting on the German edition and the 1981 live-album studio track.

A1. “Cold Hearted Woman” (2:39) – Chatman
A2. “Georgie” (2:49) – Simmonds
A3. “Bad Breaks” (5:42) – Simmonds
A4. “Don’t Tell Me I Told You” (2:42) – Simmonds
A5. “This Could Be the Night” (4:02) – Simmonds

B1. “Lay Back in the Arms of Someone” (4:17) – Chapman, Chinn
B2. “Shot Down by Love” (3:04) – Simmonds
B3. “Bad Girls (Make Me Feel Good)” (3:37) – Blacker, Simmonds
B4. “Got Love If You Want It” (3:16) – Simmonds
B5. “Nobody’s Perfect” (3:33) – Blacker, Simmonds

Savoy Brown recorded Rock ’n’ Roll Warriors in 1981 at Jennifudy Studios in North Hollywood with producer Richie Wise. Doug Rider engineered and mixed the album, and Wally Traugott mastered the record.

Rock ’n’ Roll Warriors features cover art by Michael Bryan and photography by Dave Hyatt.

Town House issued “Run to Me” as a 1981 single, which reached No. 68 on the Billboard Hot 100. Rock ’n’ Roll Warriors reached No. 185 on the Billboard 200.

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