Sold Date: December 24, 2016
Start Date: December 17, 2016
Final Price: £282.00 (GBP)
Bid Count: 6
Seller Feedback: 4325
Buyer Feedback: 67

"LOOKING IN"  (Dave Peverett / Kim Simmonds, 1970)

I'm looking in from the outside,
I wish my mind could read the score,
Some day a door will open,
Then I'll know then I'll see,
What I'm striving for.

If I could get an answer,
If someone would give me a clue,
I know I'd feel much better,
But I can't find anyone,
To put my question to.

And when I'm older and wiser,
And I look back on my youth,
Will I be contented or will I see,
Nothing but a vain search for the truth.

And when I'm old and wiser,
And I look back on my youth,
Will I be contented or will I see,
Nothing but a vain search for the truth.

I wish I knew better, baby,
My mind wouldn't be so sore,
Some day a door will open,
Then I'll know then I'll see,
What I'm striving for.

I'm looking in from the outside,
I wish my mind could read the score,
Some day a door will open,
Then I'll know then I'll see,
What I'm striving for.

If I could get an answer,
If someone would give me a clue,
I know I'd feel much better,
But I can't find anyone,
To put my question to.
SAVOY BROWN: "Looking In" LP. VERY RARE FIRST UK PRESSING, RELEASED, OCTOBER, 1970.
2017 turned out to be an exceptional year for buying & selling rare records in remarkable condition, 'rare and Savoy Brown' are
synonymous for UK first pressings.  As my final listing ending in 2017, I have saved something very precious indeed, I nearly
wrote off "Looking In" existing in unplayed, true Mint condition.  I never say 'never' and once again this is the reason why, an
astounding 46 year old masterpiece of a heavy rock record, has never been on a turntable or had a stylus lowered onto the virgin
vinyl.  It's not often, but when I can locate a top condition Savoy Brown record, and having lived through this exciting period,
I still wonder how was it possible for such fantastic albums fail to sell, apart from a few appreciative fans.  If that happened
outside of Britain you would have to question the validity of what I consider to be sensational  records, but their key albums  
from this same late 1960's  - early 1970's era, sold in huge numbers in America, where they had far, far more competition from
US blues based heavy rock. They were pressed on the the US Parrot label and exist in numerous amounts, but UK pressings are
as elusive as records get, especially when the condition comes into the equation.  If only "Looking In" had a laminated gatefold
cover, but I have to accept that a Mint matt cover was simply out of the question and settle for..... an unplayed record!  In 1972,
Savoy Brown's "Hellbound Train" had a similar gatefold cover with David Anstey once again creating fantastic artwork, but
  that was laminated.... oh well.  This unused "Looking In" does have some standing in storage edge and spine rubbing, but both
 full outside panels do not have any rubbing, fading or stains, positively no ring wear even on the back panel's record storage
compartment.  In fact, even the white lettering of "Looking In" on the spine is 100% unaffected by wear or rubbing, which is
a minor miracle, a perfectly sturdy strong cover with the incredible artwork in superb condition


BLUE & SILVER BOXED DECCA LOGO LABEL: SKL 5066
 

DECCA'S MACHINE STAMPED MAITRIX IS ALWAYS FOUND AT 6 O'CLOCK IN THE RUN-OUT GROOVES, SIDE 2 IS ONE
  DIGIT HIGHER THAN SIDE 1 NUMERICALLY, SO IS THE MAITRIX:
 
SIDE 1:  XZAL - 10072 . P - 1W
  / Jim Baikie SIDE 2:  XZAL - 10073 . P - 1W
All the first pressing I have seen had the above without any exceptions, there might be a '- 2W / -2W' ending out there some where
but I doubt it very much.  I am fully experienced with a genuine lifetime vested in records since the early 1960's, but still state even
that cannot give anyone complete knowledge...  variations exist in greater numbers for records, covers and inserts.  Even when
pressed consecutively on the same press, no two records are exactly alike!  The one consistent was the incredible audio standard
for every record made, only wear and abuse affects that today, a Mint record like this is a first generation from the Master Tapes.
As it happens,  "Looking In"  was the one and only Savoy Brown to make a UK chart entry, blink and you missed it though, the
briefest of brief appearance at No.50.....for only seven days!  No second pressing was required or made, those that were bought
during those seven days, played the records again and again, mostly on 1960's mono record players with a blunt stub of a stylus.


DECCA MOTHER STAMPING AT 9 O' CLOCK IN THE RUN-OUT GROOVES ARE '1' ON BOTH SIDES, AT 3'O CLOCK,
CODED LETTERS CONTAIN THE ACTUAL ORDER INDIVIDUAL RECORDS WERE MADE IN:

SIDE 1:  U  1 = Record No.2, From The First Mother
  SIDE 2:  U  1 = Record No.2, From The First Mother
 
Decca took the word 'Buckingham' as a numerical coded indexing system,  'B' = 1 through to 'M' = 0, this intensive examination of
the pressing indexing is not really necessary for an album that sold so poorly.   To get to both sides with No.2 record per the
individual mothers, is beyond belief, especially as the record has never been played.


ORIGINAL 1970 POLY-LINED DECCA INNER SLEEVE, THE FRONT BOTTOM LEFT CORNER HAS THE DATE OF
MANUFACTURING;  

'6-70'  = 'June,1970'

Considering this record was pressed as early as it gets and being unplayed, the inner sleeve simply has to be the original, so
it does suggest there might have been a delay between a June / July pressing and the month of release.  On the other hand, it
  could just be a box of June printed inner sleeves was not used until October, 1970.
UNUSED, UNSPLIT, WITH LIGHT AGEING AND A RECORD IMPRESSION RELATED LIGHT RIPPLES / CREASES.
  THE INNER SLEEVE IS IN MINT- CONDITION.

  FIRST ISSUE ' Moore & Matthes Ltd. England' PRINTED  MATT GATEFOLD COVER, WITH SUPERB  ARTWORK
ON THE OUTSIDE.  INSIDE,  BOTH PANELS FEATURE BAND PICTURES AND FUNNY CARICATURES.
  The fantastic artwork was the brilliant artists Jim Baikie and David Anstey, as detailed earlier, the outside panels are unworn
  without any ring wear.  The wear on the edges and spine have been discussed and as frustrating I find it, unplayed records do
  spare vulnerable cover from heavy handling, but nothing can prevent easily scuffed cardboard being scuffed on the extremities.
  Crying out for deluxe thick,glossy lamination, but for this particular very rare 1970 cover, this way, way, beyond the average
  condition. Please see my pictures for how how exceptional this is in reality, the inside is unscuffed and light geing is all to
  add to earlier comments, the slightly darker edges are where the fixing glue was absorbed by the light background to the sepia
  colour pictures and printed text.  An Excellent grading allows for edge wear etc. but for once I find that unfair when the record
  was never removed from cover in 46 years, I will accept that, while urging you to check out the pictures for the reality of the
  exceptional condition for a "Looking In" first edition gatefold cover.
  THE COVER IS IN A MINIMUM OF EXCELLENT+++ CONDITION.


"  NOW I GET TO STRESS THE RECORD IS IN THE VERY RARE ULTIMATE CONDITION, THERE ARE NO SPINDLE
  ALIGNMENT TRACES ON THE PRISTINE LABELS.   TEXTURED LABELS LIKE THESE SHOW THE SLIGHTEST
  CONTACT, BUT THERE ARE NONE, THEY AND THE VINYL ARE LITERALLY LIKE BRAND NEW.
  THE RECORD IS COMPLATELY UNMARKED, IN UNPLAYED, MINT CONDITION.
SIDE 1
"Gypsy" (Kim Simmonds)
"Poor Girl" (Tony Stevens)
"Money Can't Save Your Soul" (Dave Peverett / Kim Simmonds)
"Sunday Night" (Kim Simmonds)
"Looking In" (Dave Peverett / Kim Simmonds)

SIDE 2
"Take It Easy"  (Dave Peverett / Kim Simmonds)
"Sitting An' Thinking" (Kim Simmonds)
"Leavin' Again" (Dave Peverett / Kim Simmonds)
"Romanoff" (Kim Simmonds)


SAVOY BROWn, 1970
Kim Simmonds - guitar & piano
Lonesome Dave - vocals & guitar
Tone Stevens - bass
Roger Earl - drums


Recorded At 'Recorded Sound Studios,' London
Mastered By Anthony Hawkins  At Decca Studios
Arranged by Savoy Brown
Produced By Kim Simmonds
I struggled with a decision about playing the record myself, the rarity of the album and the incredible condition won over my own
love of the album.  It would be pure indulgence on my behalf, although preventing me from writing a 'track by track' description,
the next owner can have the enjoyment of being the first to hear this immaculate record in 46 years.  Instead I will write a full
background to both Savoy Brown and their sublime 1970, "Looking In" album, the least a lost masterpiece like this deserves.
  The explosion of UK blues bands in the middle to late 1960's produced some extraordinary talent, Savoy Brown were up there with
  the very finest of them all. It was quite unusual not to have a customary John Mayall connection for the musicians, Savoy Brown did
  however have the benefit of John Mayall's record producer Mike Vernon.  Be it Peter Green's Fleetwood Mac, Ten Year's After etc.
  most of the true great 60's blues album's have Mike Vernon's name credited as the producer.  Formed in 1966 Savoy Brown became
  part of the UK blues club circuit, an era known as the "Blues Boom" here, in reality most of them were in small back rooms of pubs.
  It was at the famous 'Klook's Kleek Club,' Savoy Brown were playing on the same bill as John Mayall, his name does always seem to
  figures somewhere, there Mike Vernon first saw their great talent, leading to them signing with Decca, who he produced mostly for.
  for.  They recorded a stunning debut album but British record buyers did not respond, "Shake Down" was a commercial disaster and
  did not even make a chart entry.  That sadly become the same story of their entire careers, their home country was always a place
  Savoy Brown never made any in-roads, as ever it was in America where such musical indifference never created barriers between a
  talented band and an appreciative audience.  The USA immediately took to their immense stage presence superb music, recognising
  their ability as a live act as well as in the studio.  Throughout the rest of their careers, Savoy Brown would undergo a succession of
  musician changes, only  founder member Kim Simmonds remained as a consistent figure.  Best summed by the only entry in a UK Chart
  book under 'Savoy Brown' is for this October, 1970 album,"Lookin' In", not exactly earth shattering at No.50, after seven days it
  disappeared into oblivion.  "Looking In" is extremely rare in playable condition because regardless of 70's British record buyers
  as a whole, the enlightened who picked up their incredible singles and albums, discovered fantastic music and heavy plays reduced
  the vinyl to a crackling, distorting  mess.   There were plenty of albums that sold poorly in the UK but loved in America, Europe
  and Japan, the sad fate of Savoy Brown's inspired records in Britain, is why so few survived today and I should not be worrying
  about rubbing on the spine and edges, that really is secondary to a 1970 record still looking and also sounding like brand new.  
If it was possible I would list them all as often as possible, I'm grateful for finding an average of one Savoy Brown album every
two years that meets my strict audio standards.  As I regularly write, Decca's mastering and pressings were immaculate, yes, I
regularly fuss about the design and materials used for the covers.  Then it must be remembered nobody at the time thought the
  original's would still be in such great demand this far into the 21st century, I can say that will now continue indefinitely for
the 1960's & 1970's records.....and covers!   A few years ago I experimented with buying original USA Savoy Brown albums on the
Parrot label, great  pressings with equally vulnerable to wear covers, but even Mint Parrot copies received so few bids on ebay,
I concluded patience was required to find the few UK pressings without severe damage, there is no middle ground if you're into
'sound' so I'm thrilled offer a true Mint "Looking In" for the very first time on ebay.
 
  I had better not get too involved with their LP's that preceded "Looking In", at one point there appeared to be no way there would
be any further Savoy Brown LP's, the loss of their lead vocalist Chris Youlden in May, 1970 was the first obstacle to overcome.
Chris had established the visual focus of the band like a brand, wearing a Top Hat they had a recognisable image, then the band's
incredible musicianship took over, losing Chris was also losing their very identity on stage.   'Musical differences' was the usual
  cliché in the music press and the band made no attempt to replace Chris, 'Lonesome' Dave Peverett took over lead vocals and they
worked as a quartet, spreading the songwriting among themselves without Chris Youlden providing the majority of their material.
"Looking In" was recorded by Kim Simmonds, Dave Peverett, Roger Earl and Tone Stevens and in October, 1970, became their only
UK success, if only as briefly as outlined before.  Making No.39 in the USA reflected why they concentrated on touring in America,
but a glimmer of acceptance in their home country was about to devastate Savoy Brown.  After a tour of America in November, 1970,
it could not have been gone better, but the band were far from happy though and on returning to England they decided to break up.
'Lonesome' Dave Peverett, Roger Earl and Tone Stevens announced in the music press they were forming 'Foghat' with Rod Price.
It looked like it was all over for Savoy Brown when they had experienced the most success since 1966, Kim Simmonds was always
the leader and he was not giving up.  Savoy Brown were not alone in experiencing a re-birth because so many other 60's bands were
undergoing the same personnel changes,for example, just look at the different line up's of Deep Purple in the 1970's decade and the
  many related bands that formed one of the most fascinating and interesting periods in rock music.  You had to read the weekly music
press to keep contact with the formation of new bands and the re-building of the more established varieties, the reputation of the
highly respected Savoy Brown was more than enough to replace talent for talent as indeed Kim Simmonds did.  'Rejuvenated' is the
best word to use, there was the pedigree of Paul Raymond who sang vocals and played the guitar and keyboards for Chicken Shack.
From the Jethro Tull connected Blodwyn Pig, Ron Berg played the drums and Andy Pyle the bass, Blodwyn Pig's rhythm section gave
them instant stability but they were not permant fixtures. With Pete Scott their lead vocalist Savoy returned to America in early
1971 until April with the Faces fronted by Rod Stewart, but Kim was still looking for improvement. I hope you're paying attention
because he sacked Ron Berg and Andy Pyle who next joined Juicy Lucy, Kim returned to Chicken Shack and recruited Andy Silvester
who played the bass and Dave Bidwell the drums.  Yet again a ready made rhythm section with a wealth of experience, Pete Scott
was replaced with ex-Idle race lead vocalist Dave Walker and Pete Scott would much later join Beggars Opera around 1975. Quite
a mixture of band names among that, now Savoy Brown were settled and ready to record their next album,"Street Corner Talking."
The recording sessions were exceptionally fruitful and the musical chemistry perfect, producing one of the greatest combinations
of rock and blues during the early 1970's, perhaps the tour with the Faces gave Kim the inspiration to also record an r&b Motown
song, one of the finest tracks was an inspired version of the Temptations' "I Can't Get Next to You.  As ever, I have got too far into
  events that immediately followed "Looking In", not that it really matters because I will not be playing and describing the tracks
and it is nearly Christmas!  Unlike most ebay record sellers, these are the records I bought on release and still love them , I saw
the artists in concert and have an authentic affinity with records I regard as 'old friends'.  Only I want to offer them in the same
condition I first them in, okay, I cannot hold back the decades but I can aim for the highest standard for records, unplayed is
  off the scale!  if I had to make comparisons to the contemporary bands in 1970, somewhere between Free and Deep Purple would
roughly fit, that was some compliment and just how superb this line-up were.
 
The album opens to a very short instrumental, a bit like Black Sabbath,"Gypsy" was a real surprise for regular fans, a lovely
melody was hardly expected but Kim was not exactly your average heavy rock guitarist . "Poor Girl" written by Tony Stevens
was business as normal, a red hot heavy guitar riff and Lonesome Dave's vocals were very impressive indeed, why Chris was not
missed in the studio or on stage, I wish I could describe the tracks in detail, so a few more words about the album's content.
I can't believe I have managed to resist playing this immaculate, gleaming record, especially for the sensational stereo panning
effects on "Money Can't Save Your Soul," an amazing track with heavy echo effects creating soundscapes and what a vocal from
  Dave, who co-wrote it with Kim.  "Sunday Night"can only be described as progressive blues / jazz with a touch of r&b or soul,
Kim was obviously listening to new influences and writing this fantastic instrumental, apparently recorded late on a Sunday and
that provided the title.  Side 1 ends with the title track, "Looking In," another Dave Peverett and Kim Simmonds clasic song, just
perfect for their very special brand of blues inspired heavy rock, I find it so frustrating discussing this loved performance in
text only, when I have a pristine record near by!  Side 2 opens with slow tempo acoustic blues, the same writing partnership was
working exceptionally, Kim & Dave managed without Chris with ease, if anything, the new material had more adventure and variety.
"Take It Easy" was the theme and this always reminds me of Free songs with the same theme , next up "Sitting An' Thinking" was
written by  Kim Simmonds, not the blues classic recorded by the Spencer Davis Group with Steve Winwood.  The band really
got into this and what an amazing performance from all four talented musicians.  Dave & Kim co-wrote the superb "Leavin' Again"
and Dave's lead vocals were just stunning, powering out the lyrics out like his life depended on them!  A long track that clocks
in just under nine minute of red hot heavy rock, if one track was worth hearing the album for, "Leavin' Again" leaves you drained
and breathless!  What an album this is, not that Savoy Brown recorded concept or themed albums, but the album ends like it
began, a short one minute or so instrumental, very close to how the album began with the lovely "Gypsy", Kim wrote the song
with a gypsy connection, "Romanoff."   I know that short run through the album fall cannot possibly capture the truly inspired
performances and such a crafted record, but I had try.

I have two other very special albums lined up to list over the Christmas / New Year period, for now this incredible "Looking In"
will take it up to Christmas Eve next Saturday.   Have a great Christmas!
{Roy}
    R & M RECORDS.

My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
  in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
  into becoming a professional record seller.  Nearly thirty years ago we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
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the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
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