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Lion's Share (1972) - Savoy Brown


    Featuring »

Dave Bidwell, Andy Pyle, Paul Raymond, Kim Simmonds, Dave Walker

    Tracklisting »
Shot In The Head
  Date Performance: 1972-07-00, Running Time: 4:44
Second Try
  Date Performance: 1972-07-00, Running Time: 4:14
The Saddest Feeling
  Date Performance: 1972-07-00, Running Time: 4:24
I Can't Find You
  Date Performance: 1972-07-00, Running Time: 3:32
Howlin' For My Darlin'
  Date Performance: 1972-07-00, Running Time: 3:34
  Comments: Billed as "Howling For My Darling".
So Tired
  Date Performance: 1972-07-00, Running Time: 4:14
Denim Demon
  Date Performance: 1972-07-00, Running Time: 4:24
Love Me Please
  Date Performance: 1972-07-00, Running Time: 5:44
I Hate To See You Go
  Date Performance: 1972-07-00, Running Time: 4:23
    Released »

1972-10

    Format »

Domestic Vinyl/CD Album

    Other Appearances »
Roy (Thomas) Baker (Engineer), Neil (The Curmudgeon) Slaven (Producer), Willie Dixon (Songwriter), Howlin' Wolf (Chester Burnett) (Songwriter), Little Walter (Walter Jacobs) (Songwriter), Paul Raymond (Songwriter), Paul Raymond (Songwriter), Kim Simmonds (Songwriter), Kim Simmonds (Songwriter), Harry Vanda (Songwriter), Dave Walker (Songwriter), Dave Walker (Songwriter), George Young (Songwriter), John Tracy (Co-Ordination), John Tracy (Co-Ordination), Vince(nt) Biondi (Art Direction), John Tracy (Liner Notes), John Tracy (Research), John Tracy (Research), Peter Cross (Illustrations), Mike Stone (Remix Engineer), Gail Inkpen (Co-Ordination Assistant), Regina Steyaert (Co-Ordination Assistant), Anthony Hawkins (Re-Mastering)

    Record Label »
Parrot/Decca/Deram

    Catalogue Number »

XPAS 71057 ('72 US Parrot LP) SKL 5152 ('72 UK Decca LP) 844 020-2 ('91 Deram CD)

    Running Time »

39:13

    Liner Notes »

Recorded at Trident Studios, London.

CD Reissue notes:

Having recently secured their biggest hit album in America to date with HELLBOUND TRAIN (U.K.: Decca TXS 107, ReI.: 18th February 1972; U.S.: Parrot XPAS 71052), it having motored up to No. 21 on the Billboard Top 200 after entry there on March 18th and still extant as the summer approached, it was somewhat of a surprise to find bassist Andy Silvester exiting in June. Or was it? Not really in Savoy Brown's case, for personnel upheaval was the norm rather than the exception with them, particularly at times of triumph, and so tradition was simply being maintained.

The man with the amplified four-string quickly found himself further recording work, initially with two bodies whose pedigrees included Savoy notations: their former producer Mike Vernon called him to play on an LP he was making, MOMENTS OF MADNESS (Sire, 1973). and then the Brown's one-time vocalist Chris Youlden had him add a little lower register to his solo debut, NOWHERE ROAD, for Decca U.K./London U.S.A. offshoot label, Deram, that same year. Keeping it in the family one might say. Anyway, Silvester would later surface also on Danny Kirwan's SECOND CHAPTER (D.J.M., 1975), amongst others, while Savoy Brown themselves found a replacement very easily.

Although he'd never recorded with lead guitarist Kim Simmonds & Co. during his previous membership, Andy Pyle - once of Blodwyn Pig - had toured Stateside with the band before opting for a switch to Juicy Lucy. He'd entered studios with them for PIECES (Polydor, 1972). but their future generally appears to have not looked overly positive, so he renewed his Savoyian subscription thus bringing back together a line-up completed by Paul Raymond (Keyboards, Guitar, Vocals), Dave Bidwell (Drums) and lead singer Dave Walker.

During July, with Decca/Deram staff producer Neil Slaven again in situ, the quintet took themselves off to London's Trident Studios for the purpose of laying down the nine tracks which would comprise their next long-player, to be entitled LION'S SHARE. Selfscripted work-out's would be offered by Raymond (THE SADDEST FEELING, I CAN'T FIND YOU). Simmonds (SECOND TRY, SO TIRED, LOVE ME PLEASE) and, for the first (and last) time, Walker (DENIM DEMON). while outside sources provided the balance.

George Young and Harry Vanda - in the mid-Sixties rhythm guitarist and singer respectively with The Easybeats, of FRIDAY ON MY MIND fame, but latterly fronting The Band Of Hope and, currently way-back-when, The Marcus-Hook Roll Band - had SHOT IN THE HEAD purloined from their catalogue, as the Chester Burnett/Willie Dixon opus HOWLING FOR MY DARLING and Walter Jacobs' I HATE TO SEE YOU GO filled the remaining vacancies. Final mixing and editing was completed on 24th August, and, as was frequently the arrangement, plans for an American release before Christmas were kicked into gear, while the powers-that-be in Britain pencilled in an issue date for early 1973. The necessary motions for a tie-in U.S. tour were falling into place when, suddenly, Dave Walker decided upon a change of scenery and left for an alternative pastime. A replacement would soon be procured.

From the London pub-rock circuit came Jackie Lynton, an ex-builder from Battersea who'd been involved in music since the late 1950's. He needed little time to learn the S.B.'s repertoire, and they were soon off to America once more to promote the latest album. Audiences across the Atlantic quickly warmed to both Jackie's powerful voice and delicious sense of humour, and for future reference he also possessed another useful talent - one of prodigious songwriting.

That which constituted presently the priority though, LION'S SHARE, was delivered to Uncle Sam's disc outlets in the autumn of '72 as XPAS 71057, and on November 4th duly leaped into the published weekly ratings on its way to a slightly disappointing high of 151 during a 10 week stopover; no single was culled from within its ranks.

Decca at home followed suit on 19th January 1973 with an identical parcel available as SKL 5152, and with the promise of a British crusade from the boys extracted a 45 exactly a week later which paired SO TIRED and THE SADDEST FEELING as F 13372. The activity found Kim Simmonds enthusiastic: "Until recently we have found that we had a vast market for our music in the States, while over here virtually nothing. But that seems to be changing fast."

Indeed it was. The February tour - their first outside the United States for more than three years - played to packed houses. Kim again: "It was just amazing. In the space of a couple of years it seems that a whole new taste in rock has emerged over here. We had almost accepted that Savoy Brown would never achieve anything like the success we have had in America. But we were wrong."

Paradoxically, as a result of relatively low sales in their homeland to date, LION'S SHARE was not afforded the gatefold sleeve of its immediate predecessors, and had returned them to the standard Full-Price SKL prefix series rather than the luxury TXS alternative as of late. Even more annoyingly, just as it was announced that sales of Savoy Brown platters in America had topped the two million mark, and despite sell-out shows around the venues of Blighty, both LP and single avoided our then Top 50's.

Still, if at first you don't succeed, try, try again, goes the old adage and Savoy Brown were already thinking along the lines of another twelve-inch vinyl spectacular - their tenth such venture. Aimed fairly and squarely at the whole world, in the spring of 1973 they locked themselves away in a studio and remained there until ready to introduce a friend. They called him JACK THE TOAD...

JOHN TRACY London, 1991

(P) 1972 (C) 1991 The Decca Record Co. Ltd., London, England

PolyGram Label Group

Manufactured and Marketed by Polygram Records, Inc. New York, New York

All rights reserved.

Unauthorized copying, reproduction, hiring, lending, public performance and broadcasting prohibited.

Made/Printed in U.S.A.

Compact Disc Digital Audio

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    Reviews »
Add your review here.

3/5.03/5.03/5.03/5.03/5.0
Lion must've eaten the improv as it's not on the plate
Review written by John Fitzgerald, March 14th, 2005

I found "Lion's share" to be lacking in any real improvisation which is what makes most of Savoy Brown's lengthier material so appealing. The closest thing to that on this album is "Love me please" which is fairly suspenseful in it's quiet piano and guitar vein which does eventually get in to some mainly mellow guitar (but piano also) soloing. It's a great track for Dave's meaningful vocals too though he may be singing it better on the live version from Relix Record's "Live in Central park" album. Another track that may have been better on that live release was/is the strolling ballad "The saddest feeling" which had more tasty chiming guitar fills though you do get some of that here and the effective organ and piano chunks help too. Along the more traditional blues route there's "I can't find you" which is a harmonica featured piano/guitar chugger, the fast pulsing "Howling for my darling" and the closing "I hate to see you go" which here is a fast "Another man done gone" type tumbler. The Dave Walker penned "Denim demon" is a lightweight Chuck Berry type rocking vehicle which is perhaps sophomoric but to me this sounds like it could've been Walker more trying to fit in with Savoy Brown's sound rather than what has often been decided (of this actually being Walker's style, which in turn was decided that he did not fit in with Fleetwood Mac because of it whereas he was never really given a fair chance to grow as other members of the band were allowed to ...but that's another story). The winning raver "Shot in the head" opens the album though after hearing the Savoy's blazing remake of this track on their "Make me sweat" album, the "Lions share" version sounds pretty empty now (but the guitar intro on the "Lion's share" version works better than the vocal opening of the "Make me sweat" version did/does). The main highlights here (aside from "Love me please") I feel are the rocking "So tired" (which is a grumbling rocking shouter that works better than your everyday, run of the mill "on tour troubles" tale probably due to the tasty electric piano & guitar fills) and "Second try" (which is a useful shuffling boogie which grows on you with it's organ & piano chunks and chirpy guitar parts). It could be argued this may be a good place to start researching SB so you're not diving head long in to long solos and the like but as that is/was one of Savoy Brown's best elements, this is why I don't think this is a good place to start, though it's a listenable album in the end. Just my humble opinion though.

    Last Modified »
2010-12-15
    Tracklisting »
Discography entry submitted by Anders Linnartsson & Jeff Kenney.