savoy brown again

savoy brown again

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This will most likely be the most difficult article that I shall be faced with in many years to come. I am supposed to be writing objectively on the Savoy Brown’s last performance here in Detroit. After seeing them perform, meeting, and talking with them many times it’s really hard to sit down and say, “Well, this song was crummy, the other was good in the solo lead riffs. . ..etc.” You get too involved in what they’re doing to tear it apart; • it’s just one continous melodic “good time”.

Now comes the part where I take out my little notes on the performances and try to let those of you who missed their last performances in on what happened. First off, I’must clarify that if this paper gets into the hands of anyone who heard them outside of Detroit you might think it a lot of rubbish. The Savoy Brown love Detroit more than any other place they have ever played in the four years they have existed. This is fact, not hype. They therefore give their performance every ounce of talent and energy they can muster and it comes out far better than if they were playing in some other town. Now to the run down of their performances of April ninth and tenth at the Grande Ballroom. The Savoy Brown usually do approximately the same songs • both nights. The second number, “Louisiana Blues” brought a standing ovation both nights. Lonesome Dave takes over the vocal in this number and Chris Youlden stands back. It’s hard-hitting and is ■ carried away with some of the best guitar I’ve heard in a long time by lead guitarist Kim Simmonds. I was pretty sure after Wednesday nights’ performance that Kim could do almost anything he wanted with that • guitar of his. After Thursday night I , was positive. He has a tendency to | mouth the chords he’s playing whilst • on stage. It makes one wonder if maybe he’s not just isn’t in their blues catalog. They do good music that they enjoy playing no matter what tag you wish to put on it.

The last time they were in Detroit they played with John Mayall. I happened to help with the interview that Creem did with Mayall and I asked him his opinion on Savoy Brown. The jest of it was that they made their bread by putting on a show and being too loud. In other words he wasn’t especially fond of them. I found out later that there is tnore to this than meets the eye (little gossip here). It seems that four years ago when Savoy Brown was conceived that Mayall was doing stuff like “Walkin’ the Dog” and things of that nature. He would come to Savoy Brown’s rehearsals and tape them. They were doing blues and Mayall would listen to it and use their material as his own. Yes, Mr. Blues himself took Savoy Brown’s numbers and got himself into heavy blues. Of course this was years ago and he now has the reputation of being blues personified. Just think for a moment, here he is putting down Savoy Brown when he used to copy their music. No, Savoy Brown doesn’t want to start a huge hate campaign; lets just give credit where it’s due. As to the point of them being a more or less show biz act and only there to entertain. . .what is music for anyhow? why do hundreds and thousands of people come to the Grande every week? To be entertained.

Savoy Brown are happy people, they are happy when they’re on stage and want to share some of it with you. It happens when a group is good that an audience really can get into it and leave with a happy smile on their face. Their biggest number is “Savoy Boogie” and it includes a singing. . .getting those sounds out of a little wooden box is pretty incredible, but then again so is he. The drummer of the group is one Roger Earle (known for his supposed resemblance to a Mr. John Lennon). I swear that if a tidal wave hi( while they were playing it would take a good fifteen minutes to get him off. He plays as though his life depended upon it. Never faltering, never visually tired. He keeps pushing and driving on that beat until it pulsates through your flesh. I cov.d go on for another twenty or t irty pages talking about the i idi, final attributes of Chris, Dave To 12 and Roger and Kim, but it w uld be useless. You’ve got to experience them live in order to know what i mean. And you’ve got to experience it in Detroit.

This was their thirl /Lit to Detroit in the past fe.v months they’ve been on tour in the States. They’re returning home to England the 20th of April to cut an album and will be back in July if all goes well. Talking to Kim in the dressing room before the performance Thursday night I managed to get in a few “interviewish” questions. The Savoy Brown were started by Kim some four years ago and used to be called “The Savoy Brown Blues Band”. This seemed as good of a name as any so I asked about the slight change. It seems that in England if you have “Blues Band” at the end of your name you’re expected to play strictly BB King Blues or you’re the recipient of much criticism and, tend to offend some “bluesy people”. They aren’t the type of guys who wish to offend and therefore cut off the end. It gives them a wider scope in which to play and they don’t have to worry about people coming back and being up-tight cause “Train to Nowhere”

dash of audience participation. Thursday night must have made Grande histroy in that field. I swear that 95% of the entire Grande Ballroom was boogying with Chris. The other five percent must have been in a kind of stupor. There must have been over a thousand kids there and when a band can get into that many minds and make them happy. . .you know there’s something there. There is.. .five guys who love what they’re doing and love you because, man, they couldn’t do it without you.

Gayle Clark

HOLY MUSIC DEPARTMENT

Northern India, classical music is largely improvisation on traditional melodies called Ragas.

Ragas usually share some characteristic form beginning witlr an Alop, similar to a prelude wherein the basic form of the particular raga is established. This movement is in free rhythm and without tabla accompaniment. Tablas are the percussion instruments in tl>e group. The range of the raga is extended as the alap continues and with it Sitar or Sarod. The drone strings are brought into use rhythmically.

The slow tempoed GAT follows the Alap. The gat has a particular tempo from which the melody player starts and returns. The Tablas accompany this movement keeping time. When the melody instrument returns to the gat the tablas are usually given an opportunity to improvise. Then the gat itself supplies the tempo.

The final movement is usually a fast tempo gat. The tempo is usually quadruple and the runs fast.

This can lead into a jhala (where the drone strings of the sitar or sarod) may be used rhythmically and builds to a grand climax.

Not all ragas have to be played on Sitar or Sarod. I have heard some exceptionally good flute ragas (bamboo flutes). The Tambura is a really fine instrument. It is a drone instrument, four strings, played with one hand. It is tuned to the melodie instrument. Kick out the jams!

George Todt