Age is an issue of mind over matter

It was sad to hear of the recent passing of Savoy Brown's lead guitarist and vocalist Kim Simmonds - the one constant member of the band since its formation in 1965. 

 Kim Simmonds 1947-2022

Although the band never quite reached the heights of John Mayall and Fleetwood Mac in the UK, they were one of the leading lights in the British blues scene of the second half of the 1960s and even managed to find success in the States, although not to the degree that several members achieved when they splintered off to form Foghat in 1970.

As far as listening goes, I always find myself coming back to the pre-Foghat albums, and one in particular, "Blue Matter", which was their third LP release and the first that I bought.

A very groovy cover!

It's a rather "bitty" affair, with one side studio and the other side live tracks (not to mention two credited bass players). Two bass players? Well, the band was never the most stable outfit and "Matter" catches them in a typical state of flux, with shifting personnel.

Faced with an upcoming US tour and needing an album to promote, the band decided to add some live tracks to a handful of studio cuts, and a gig at Leicester's College of Education was chosen for recording. The band played for free in return for being allowed to record there, but this didn't quite pan out the way everyone had hoped. Lead singer Chris Youlden came down with flu or tonsilitis (depending on what you read), lost his voice and was unable to perform.

However, rather than pull out of the gig, the band went ahead and rhythm guitarist "Lonesome" Dave Peverett took over on lead vocals. It's not too much of a reach to suggest that the seeds of Foghat were probably sown at this point.

But first, Blue Matter's studio tracks... 

The album kicks off with what many rank as the band's finest track - "Train to Nowhere". It's a blues, but with just two chords over 16 bars, and way more interesting than that description implies.  Chris Youlden has one of the most distinctive voices of any UK blues singer and he's in fine form here. There's a brass section, but it's composed of five trombones (count 'em!) and this gives a sort of New Orleans sound when they join in with the prominent bass drum. Kim Simmonds adds some tasty lead guitar and the whole thing ends with the rhythm guitar playing a brief snatch of the Bo Diddley rhythm going into the fade out. It's one of the most distinctive tracks to emerge from the British blues scene at that time and more than worthy of the praise it still garners.

"Tolling Bells" is next - a slow minor blues which doesn't even move from the root chord until almost half way through the track, and even then it's not your normal chord progression, although it does go into the usual three chords and 12 bars later on. This features piano from Bob Hall and Kim Simmonds, as well as a subtle solo from the latter that sounds rather Peter Greenish.

Track three is a jazzy swing blues called "She's Got a Ring in his Nose and a Ring on her Hand" which has two great guitar solos from Simmonds - the second of which is played over a walking bass in the coda.

"Vicksburgh Blues" features Youlden's vocal and Hall's piano - no one else plays. It's a straight blues that sounds as if it could have been recorded in a much earlier decade. More New Orleans influence here, with Hall channeling Professor Longhair.

The studio side ends with a driving but respectful interpretation of John Lee Hooker's "Don't Turn me From your Door". Youlden plays some very effective guitar on this gutsy cover and it avoids some of the politeness that Hooker's songs often received from white musicians at the time. 

The Savoy Browns

It's hard to think how the band could have been more diverse when it comes to these five studio tracks. Each one is highly distinctive whilst remaining within the blues form. No one grandstands and everyone plays just what is needed for the song.

And here comes the live side...

I have to admit to being a little underwhelmed by it. At the time, I loved it, with lots of guitar and a long jam, but I eventually found that it doesn't say anything new, as opposed to the studio side, which was varied, thoughtful and innovative - especially "Train to Nowhere". 

A "Lonesome" Dave original starts proceedings but it's a pretty standard slow blues in C and although Simmonds solos well, it's all a bit "meh".

Muddy Waters' "Louisiana Blues" is given an extended treatment and Simmonds gets lots of room to solo, but overall it's disappointing. It probably helped if you were there. And pissed. Or stoned. Or both.

The last live offering is "It Hurts Me Too" - another slow blues. Simmonds' soloing is rather more thoughtful here but, to be frank, he goes on rather too long and takes up most of the track's 8 minutes.

So, an excellent studio side, but a rather lackluster live side - a shame, as side one shows a band very keen to push the blues boundaries a little further than many of their contemporaries.

I referred above to Savoy Brown as not having a very stable line up, and in fact, Simmonds would see 69 musicians pass through the band!

This is where it gets sort of personal as I played in a band, the T-Bone Boogie Band, for several years with one of Savoy Brown's original 1965 members - pianist Trevor Jeavons. He'd long since stopped playing professionally full time and had become a qualified teacher, branching out into art therapy with children, and he's still active in that field as far as I know.

The T-Bones 30 years ago...

Trev was a great player - very knowledgeable about blues and jazz - and blessed with a really zany sense of humour. The T-Bones were the most fun I've ever had playing in a band and the repertoire comprised a real mix of songs - all the way from "Three Little Fishes", "Dr Jazz" and "Red Hot Nuts" and  then through blues, R&B, vaudeville and swing to "Shake Your Money Maker", "Hoochie Coochie Man" and a totally insane version of "Mama Don't Allow". We played for all sorts of audiences, but went down particularly well with bikers. Good times - really good times. I can't remember ever playing a duff gig.

A question to gain your own helping of Blue Matter will appear below in the fullness of time...