SAVOY BROWN BIOGRAPHY Savoy Brown Was Formed by Guitarist Kim

Total Page:16

File Type:pdf, Size:1020Kb

SAVOY BROWN BIOGRAPHY Savoy Brown Was Formed by Guitarist Kim SAVOY BROWN BIOGRAPHY Savoy Brown was formed by guitarist Kim Simmonds in 1965 in London, England and is one of the longest running blues/rock bands in existence. Simmonds has been the group's guiding hand from the first singles released in 1966 through the band's newest effort Aint Done Yet, their 41st album, to be released in September 2020 on QVR records. Energetic blues has been the calling card of the band from the beginning. "Blues rock" became the catch-all phrase in the late 1960s to describe the band's music along with that of contemporaries such as Cream, Fleetwood Mac and Jimi Hendrix. In fact, in the 2013 drama film, Jimi Hendrix: All Is By My Side, Savoy Brown's song “Train To Nowhere” was included in the soundtrack. Many of the band's singles and albums have appeared on the Billboard Hot Hundred charts including songs such as “I’m Tired”, “Train To Nowhere” and “Tell Mama” and albums such as Hellbound Train. In 2017, the album Witchy Feelin’ reached #1 on the Billboard Blues chart. Savoy Brown established national status in the 1970s by headlining iconic stages such as Carnegie Hall and Royal Albert Hall. The story continues to this day with Simmonds being helped along by Scott Holt on guitar and vocals, Pat DeSalvo on bass and Garnet Grimm on drums. Simmonds said, “I still have the same energy as I had in my twenties and I have never stopped enjoying entertaining a crowd and giving people inspiration." Savoy Brown and Kim Simmonds have a body of work matched by only a small portion of musical artists. As they continue to tour the world, young and old find inspiration in their energy, timeless music, classic style and ageless performances. .
Recommended publications
  • Special Issue
    ISSUE 750 / 19 OCTOBER 2017 15 TOP 5 MUST-READ ARTICLES record of the week } Post Malone scored Leave A Light On Billboard Hot 100 No. 1 with “sneaky” Tom Walker YouTube scheme. Relentless Records (Fader) out now Tom Walker is enjoying a meteoric rise. His new single Leave } Spotify moves A Light On, released last Friday, is a brilliant emotional piano to formalise pitch led song which builds to a crescendo of skittering drums and process for slots in pitched-up synths. Co-written and produced by Steve Mac 1 as part of the Brit List. Streaming support is big too, with top CONTENTS its Browse section. (Ed Sheeran, Clean Bandit, P!nk, Rita Ora, Liam Payne), we placement on Spotify, Apple and others helping to generate (MusicAlly) love the deliberate sense of space and depth within the mix over 50 million plays across his repertoire so far. Active on which allows Tom’s powerful vocals to resonate with strength. the road, he is currently supporting The Script in the US and P2 Editorial: Paul Scaife, } Universal Music Support for the Glasgow-born, Manchester-raised singer has will embark on an eight date UK headline tour next month RotD at 15 years announces been building all year with TV performances at Glastonbury including a London show at The Garage on 29 November P8 Special feature: ‘accelerator Treehouse on BBC2 and on the Today Show in the US. before hotfooting across Europe with Hurts. With the quality Happy Birthday engagement network’. Recent press includes Sunday Times Culture “Breaking Act”, of this single, Tom’s on the edge of the big time and we’re Record of the Day! (PRNewswire) The Sun (Bizarre), Pigeons & Planes, Clash, Shortlist and certain to see him in the mix for Brits Critics’ Choice for 2018.
    [Show full text]
  • The Story of Sonny Boy Slim
    THE STORY OF SONNY BOY SLIM Ever since 2010, when Gary Clark Jr. wowed audiences with electrifying live sets everywhere from the Crossroads Festival to Hollywood’s historic Hotel Café, his modus operandi has remained crystal clear: “I listen to everything…so I want to play everything.” The revelation that is the Austin-born virtuoso guitarist, vocalist and songwriter finds him just as much an amalgamation of his myriad influences and inspirations. Anyone who gravitated towards Clark’s, 2011’s Bright Lights EP, heard both the evolution of rock and roll and a savior of blues. The following year’s full-length debut, Blak And Blu, illuminated Clark’s vast spectrum - “Please Come Home” is reminiscent of Smokey Robinson, while “Ain’t Messin’ Around” recalls Sly and the Family Stone. 2014’s double disc Gary Clark Jr–Live projected Clark into 3D by adding palpable dimension and transcendent power –– songs soared and drifted from the epic, psychedelic-blues of “When My Train Comes In” to his anthemic, hip-hop, rock-crunch calling card, “Bright Lights”, all the way down to the deep, dark, muddy water of “When The Sun Goes Down”. There are a handful of folks who have informed for the mélange of genres and styles, which comprise the genius of Clark. One is Michael Jackson. It was on Denver stop of MJ’s Bad Tour where a four-year-old Gary’s life was altered after witnessing The King of Pop. By the sixth grade, Clark would own his first set of strings (Ibanez RX20). As a teen, Clark began making a local name by jamming with adult musicians around nearby clubs.
    [Show full text]
  • The Twenty Greatest Music Concerts I've Ever Seen
    THE TWENTY GREATEST MUSIC CONCERTS I'VE EVER SEEN Whew, I'm done. Let me remind everyone how this worked. I would go through my Ipod in that weird Ipod alphabetical order and when I would come upon an artist that I have seen live, I would replay that concert in my head. (BTW, since this segment started I no longer even have an ipod. All my music is on my laptop and phone now.) The number you see at the end of the concert description is the number of times I have seen that artist live. If it was multiple times, I would do my best to describe the one concert that I considered to be their best. If no number appears, it means I only saw that artist once. Mind you, I have seen many artists live that I do not have a song by on my Ipod. That artist is not represented here. So although the final number of concerts I have seen came to 828 concerts (wow, 828!), the number is actually higher. And there are "bar" bands and artists (like LeCompt and Sam Butera, for example) where I have seen them perform hundreds of sets, but I counted those as "one," although I have seen Lecompt in "concert" also. Any show you see with the four stars (****) means they came damn close to being one of the Top Twenty, but they fell just short. So here's the Twenty. Enjoy and thanks so much for all of your input. And don't sue me if I have a date wrong here and there.
    [Show full text]
  • Contents ART/Community
    Please remember to be good stewards of the land this hunting season ith hunting season just and vehicles for weeds and weed seeds to – Accessing public lands: Access to public lands property, including driving on roads, parking getting started, our help prevent the spread to other private and (on a private road) through private land areas, no shooting zones, walk-in only areas, friends at Montana Fish, public lands. requires permission of the private camping, number of hunters allowed, game Wildlife & Parks (FWP) – Leave gates as you find them: If a gate is landowner, lessee, or their agent. retrieval, etc. Rules for most land agencies reminds hunters and all closed, close it behind you. If it’s obviously – Know where you are located: Whether you’re can be found on maps and/or on brochures. outdoor enthusiasts to be open, leave it open. If you’re unsure, hunting public or private land, as well as Go to the appropriate agency website or good stewards of the contact the landowner or public land land enrolled in an access program such as local office for information. land, and to respect both private and agency. block management, it is every hunter’s – Report violations: report any hunting and public property. – Camping: overnights are allowed on most responsibility to know where they are to fishing, trespassing, vandalism, or other Although most hunters respect the land, public lands (see agency regulations), but avoid trespassing. Maps are always available, criminal activity you see to 1-800-TIP- property, and wildlife they are hunting, permission is needed to camp on private as are GPS chips and cell phone apps to aid MONT (1-800-847-6668).
    [Show full text]
  • Dec. 22, 2015 Snd. Tech. Album Arch
    SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London.
    [Show full text]
  • Savoy Brown a Step Further Mp3, Flac, Wma
    Savoy Brown A Step Further mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: A Step Further Country: UK Style: Blues Rock MP3 version RAR size: 1860 mb FLAC version RAR size: 1237 mb WMA version RAR size: 1392 mb Rating: 4.1 Votes: 955 Other Formats: MP4 VOX DXD AC3 TTA DMF ASF Tracklist Hide Credits Studio Made Up My Mind A1 Written-By – Youlden* Waiting In The Bamboo Grove A2 Written-By – Simmonds* Life's One Act Play A3 Written-By – Youlden* I'm Tired A4a Written-By – Youlden* Where Am I A4b Written-By – Willie*, Brown* Live Savoy Brown Boogie Including Ba Written-By – Youlden*, Simmonds* I Feel So Good Bb Written-By – Willis* Whole Lotta Shakin Goin On Bc Written-By – Williams*, David* Little Queenie Bd Written-By – Berry* Purple Haze Be Written-By – Hendrix* Hernando's Hideaway Bf Written-By – Ross*, Adler* Credits Arranged By [Musical Arrangement] – Terry Noonan (tracks: A2, A3, A4b) Engineer – David Grinstead* Engineer [Assistant] – Colin Freeman, John Punter (tracks: Ba to Bf), Mike Mailes (tracks: Ba to Bf) Liner Notes – Mike* Photography By – Terence Ibbott Producer – Mike Vernon Notes Stereo/Mono printed sleeve but no indicator hole Made in England. 1980s reissue label Other versions Category Artist Title (Format) Label Category Country Year SKL 5013, Savoy A Step Further (LP, Decca, SKL 5013, UK 1969 SKL.5013 Brown Album) Decca SKL.5013 Savoy A Step Further (LP, SKL 5013 Decca SKL 5013 UK Unknown Brown Album, RE) SKL 5013, Savoy A Step Further (LP, Decca, SKL 5013, UK 1974 SKL.5013 Brown Album) Decca SKL.5013 Savoy
    [Show full text]
  • Concert Reoiew Lust Get It On
    Page 2 Thunder-Word Friday, April 9, 197 1 mxon0 and1 LETTERS hvl uW’k thcBfidiowi11g idtcsr wt:cls sent to Dr. ;!f. A. Aikrn. Prc..yi- Chicago ~II.llighiiw Con1mw1ity (:olk*gc~: the media Wethe members of the Black Students Union of Highline I Editor, Thunder-Word: Community College demandthe following: Understanding greatly, it can be &id that relations betweel, I feel the need to protest the 1. That anyand all minority studentsattending Highline the Nixonadministration and the American press are not at a great injustice and bad publicity Community College be given financial aid in the form of Friendly level. cast upon Chicago by the music paid tuition. The most prominent example of a widening gap between the reviewer in the last editionof 2. That any Black instructor considered for full or part-time cowrnment and the media was Mr A~nw’crpcqnt attack on C& this newspaper. I hope that I employment in any related Black studies course present concerning its special. “The Selling of the Pentagon,” which dealt can reestablish :he reputation of his or herd to the “BlackStudents InstructorReview kith the ropoganda pushcci by the Pentagon and its incredible cost one of the finest groups onthe Board” for approval or disapproval. to the p&c. scene today. 3. That a full Black Studies curriculum be instituted at High- After becoming familiar with Also, relenting. to White House and FCC. pressure, ABC can- line Community College. Chicago’s first two albums I 4. That Mr. Fred Wiggs be retained as a full-time instructor cekd a scheduled debate on the Dick Cavett Showbetween ST was very curious if theycould proponent William Magruder and Senator William proxi-, ad in the division of social sciences.
    [Show full text]
  • Murder Ballads.Pdf
    This is an Open Access document downloaded from ORCA, Cardiff University's institutional repository: http://orca.cf.ac.uk/104313/ This is the author’s version of a work that was submitted to / accepted for publication. Citation for final published version: Newman, Daniel 2017. Murder ballads: Nick Cave and his approach to killing in song. Musicology Australia 39 (2) , pp. 96-115. 10.1080/08145857.2017.1393149 file Publishers page: https://doi.org/10.1080/08145857.2017.1393149 <https://doi.org/10.1080/08145857.2017.1393149> Please note: Changes made as a result of publishing processes such as copy-editing, formatting and page numbers may not be reflected in this version. For the definitive version of this publication, please refer to the published source. You are advised to consult the publisher’s version if you wish to cite this paper. This version is being made available in accordance with publisher policies. See http://orca.cf.ac.uk/policies.html for usage policies. Copyright and moral rights for publications made available in ORCA are retained by the copyright holders. Daniel Newman, Cardiff Law School To be published in Musicology Australia Murder Ballads: Nick Cave and his approach to killing in song Abstract Violence and murder have a strong cultural currency the implications of which should be pursued by those with an interest in law and society, crime, and justice. Murder ballads are songs about death and killing with a history stretching back to the nineteenth century. Drawing out the major themes of this genre can help scholars gain a handle on how murder has been treated in popular culture, thereon providing an enhanced understanding of the human condition.
    [Show full text]
  • A Band Together. but Who Knew We'd Find As Durable an Application Of
    o R M D EVERY MUSICIAN KNOWS IT’s THE RHYTHM SECTION THAT HOLDS a band together. But who knew we’d find as durable an application of that maxim as the one exemplified by the history of Fleetwood Mac? & Over the last thirty years, Fleetwood Mac has comprised fifteen musicians shuffled through six major lineups, resulting in endless tin- kerings with tone and genre. Yet the two members to survive it all rarely write tunes and never front the recordings. They’re the beat- keepers - drummer Mick Fleetwood and bassist John Me Vie. The fact that a rhythm section could sustain a band through thirty years seems all the more amazing considering the traumatic histories of the band’s shifting array o f stage-front stars. Together, their personal lives have given rock one of its most elaborate and juicy plotlines. (L Religious conversions, spells o f madness, “incestuous” liaisons within the band, drug freak-outs, alleged brainwashings, imperson- Mick ^ stevie ations, everything short of murder have spun Nicks, John McVie, Christine McVie, Lindsey Fleetwood Mac’s legacy into a story worthy of Buckingham (from left) Scheherazade. & Musically the band has endured just as many twists, moving from blues to rockabilly to laid-back California folk rock - finally to bloom into purveyors of some of the most popular and endur- ing music of the Seventies. (L It all began humbly enough. In 1967, the B Y J I M FÄRBER The band in '69: Peter original foursome convened as arch Fame entrant, Santana). If that wasn’t enough, Rose also saw the Green, Fleetwood, Jeremy devotees of the blues, arriving in the band adding nineteen-year-old Danny Kirwan (who’d played in Spencer, Danny Kirwan, second wave of U.K.
    [Show full text]
  • Black Sabbath the Complete Guide
    Black Sabbath The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 17 May 2010 12:17:46 UTC Contents Articles Overview 1 Black Sabbath 1 The members 23 List of Black Sabbath band members 23 Vinny Appice 29 Don Arden 32 Bev Bevan 37 Mike Bordin 39 Jo Burt 43 Geezer Butler 44 Terry Chimes 47 Gordon Copley 49 Bob Daisley 50 Ronnie James Dio 54 Jeff Fenholt 59 Ian Gillan 62 Ray Gillen 70 Glenn Hughes 72 Tony Iommi 78 Tony Martin 87 Neil Murray 90 Geoff Nicholls 97 Ozzy Osbourne 99 Cozy Powell 111 Bobby Rondinelli 118 Eric Singer 120 Dave Spitz 124 Adam Wakeman 125 Dave Walker 127 Bill Ward 132 Related bands 135 Heaven & Hell 135 Mythology 140 Discography 141 Black Sabbath discography 141 Studio albums 149 Black Sabbath 149 Paranoid 153 Master of Reality 157 Black Sabbath Vol. 4 162 Sabbath Bloody Sabbath 167 Sabotage 171 Technical Ecstasy 175 Never Say Die! 178 Heaven and Hell 181 Mob Rules 186 Born Again 190 Seventh Star 194 The Eternal Idol 197 Headless Cross 200 Tyr 203 Dehumanizer 206 Cross Purposes 210 Forbidden 212 Live Albums 214 Live Evil 214 Cross Purposes Live 218 Reunion 220 Past Lives 223 Live at Hammersmith Odeon 225 Compilations and re-releases 227 We Sold Our Soul for Rock 'n' Roll 227 The Sabbath Stones 230 Symptom of the Universe: The Original Black Sabbath 1970–1978 232 Black Box: The Complete Original Black Sabbath 235 Greatest Hits 1970–1978 237 Black Sabbath: The Dio Years 239 The Rules of Hell 243 Other related albums 245 Live at Last 245 The Sabbath Collection 247 The Ozzy Osbourne Years 249 Nativity in Black 251 Under Wheels of Confusion 254 In These Black Days 256 The Best of Black Sabbath 258 Club Sonderauflage 262 Songs 263 Black Sabbath 263 Changes 265 Children of the Grave 267 Die Young 270 Dirty Women 272 Disturbing the Priest 273 Electric Funeral 274 Evil Woman 275 Fairies Wear Boots 276 Hand of Doom 277 Heaven and Hell 278 Into the Void 280 Iron Man 282 The Mob Rules 284 N.
    [Show full text]
  • Rye Your Voice Is Your Calling Card.Indd
    Your Voice Is Your Calling Card “Suzann Rye has designed a course which will absolutely inspire and empower you. In a step-by-step approach, she helps you discover and connect with your true voice—the real you, or the Dream Character, as she calls it. Your Voice Is Your Calling Card touches on the spiritual, the emotional, and the physical aspects of performance, allowing you to create an authentic, harmonious, and whole stage persona. Learn from Suzann’s twenty years of stage experience, and let her help you fi nd your Dream Character.” Roger N. Quevillon Minister/Bachelor of Metaphysical Science (B.Msc.), University of Sedona Coauthor of Living in Clarity, from the best-selling series, Wake Up . Live ! e Life You Love www.! eTruthBWiseCJourney.com “I met Suzann Rye during a seminar on the power of the voice. I was amazed by her profound understanding of the mechanics of the vocal instrument, but perhaps even more importantly, I realized what a remarkable advocate of the holistic dimension of the voice she is. ! is book contains a wealth of practical knowledge. It is both helpful and inspiring. I invite you to let Suzann be your guide in this fascinating journey to discover your own inner voice and build it step by step to make it ‘your calling card.’” Nabil Doss Speaker, Voice Specialist, and Narrator President 2008–2009, Canadian Association of Professional Speakers, Montreal Chapter “What a fantastic book—simply packed with valuable lessons! ! ere are many self-help books, programs, and systems that exist today. But this is really something fresh, exciting, and entertaining.
    [Show full text]
  • Selwyn Birchwood Band
    OBBS E-NEWSLETTER March / April 2014 Preserve Promote and Present the Blues Selwyn Birchwood Band Inside this issue: Central Florida Blues Challenge The 2-3 Selwyn Birchwood Band Letter from the President 4 Spott Light 5 _______________ Zshows & WPRK 6 ___________ Around Town By 7 Lonnie Griesemer Local Bands & Jams 8- Winter Garden Blues 11 & BBQ OBBS Events Blues in School / 12 Ladies of the Blues Band Listings 13 About OBBS Our BOD 14- Membership 15 Karen Stott –Editor 1 Preserve Promote and Present the Blues Central Florida Blues Challenge Winners : The Selwyn Birchwood Band (2009) In this series you will be introduced to the past and present Central Florida Blues Challenge winners. Selwyn Birchwood Band received top honors at the 2013 International Blues Challenge coming in 1st place out of over 230 bands from around the world! Selwyn also received the "Albert King Award" for best guitarist!! IBC- K Stott Your band had won the International Blues Challenge 2013. How many times did you compete in the IBC and what blues societies sent you? Selwyn: I competed 3 times. 2009 Orange Blossom Blues Society, 2012 Suncoast Blues Society, 2013 Suncoast Blues Society How did you prepare for the competitions? What do you think the judges look for at the IBC? Selwyn: I didn’t really do too much out of the ordinary from our usual shows. You have to make sure that you’re ob- viously well-rehearsed. The only thing that we had to consciously work out was the time requirement. So, we made sure to rehearse the actual songs that we were going to perform at IBC against a timer to ensure we were within the limits.
    [Show full text]