Customer Reviews

Eight Gigs a Week: The Steve Winwood Years

5 star:		(11)
4 star:		(2)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

The Spencer Davis Group may be the most underrated group in the British Invasion. The band had a tight, swinging sound, a nice balance between guitars and keyboards, and a tasty selection of musical influences - not to mention rock's greatest white-soul singer (Stevie Winwood). Their albums featured some of the best British blues and R&B, along with pop-rock to rival what the Beatles were doing at the same time (this was pre-"Sgt. Pepper," after all). Perhaps one day the SDG will finally get their due.

This collection tries to do just that. It contains all of the band's commercially released material from the essential Steve Winwood years, both album tracks and non-LP singles, along with several rare outtakes and live cuts. While that may sound like a lot for a casual fan, it amounts to only two highly listenable discs. Considering that this was a band that rivalled both the Beatles and the Stones as the best British Invasion band throughout the early to mid 1960s, this collection is essential listening for British rock fans.

This 2 cd anthology contains the complete Stevie Winwood recordings with the Spencer Davis Group. It also adds a couple of unreleased live tracks and some rare non-lp b-sides. The Spencer Davis Group was one of the best R&B groups of the British Invasion. Winwood's tenure in this group is overshadowed by his work in Traffic, Blind Faith and his solo career. But his talent is present even in these early recordings. Most feature his soulful vocals, his impressive organ playing and underrated guitar work. The contains his two biggest hits with the band "Gimme Some Lovin'" and "I'm A Man". The band at this point was tight and played with real energy and feeling. This set contains many cover tunes like "Dimples", "Watch Your Step", and "Every Little Bit Hurts" which are energetic versions. These are contrasted with some burning slow blues and ballads like "I'll Drown In My Own Tears" or "When A Man Loves A Woman". It also contains more jam oriented material like "Stevie's Groove", "Stevie's Blues" and "Blues In F" which highlight the bands instrumental prowess. The latter tracks were sort of precursors to his great work in Traffic. Other notable cuts include singles like "Keep On Running", "Somebody Help Me", and "When I Come Home". This compilation is a welcome addition for fans of Steve Winwood or the British Invasion, and Hammond organ aficionados. Don't let the price deter you from purchasing this anthology, it is well worth the money to have all Winwood's tracks together on one set.

The great thing about this mono 2CD set is that it contains virtually everything by the Spencer Davis Group during Stevie Winwood's tenure with the band. When they re-launched in 1967 with Time Seller they were essentially a different band.
None of the three albums released during this period ever made it to CD, so much of the material is on CD here for the first time. The first album was Their First Album, the second was The Second Album and the third was... Autumn '66. Apart from some uncredited backing vocals from Millie on the Ikettes' I'm Blue and a similarly anonymous chorus on Garnett Mimms and the Enchanters' Look Away, everything you hear on the albums is pretty much the band themselves.
They had nine singles, with some throwaway but highly atmospheric and indispensable non-album B-sides, and a 1965 EP of exclusive material, all nicely gathered up here. There are also two previously unreleased live-in-the-studio tracks (Kansas City and Oh, Pretty Woman - this is the Albert King blues, not the Roy Orbison hit), and Stevie's Groove, a very mod-friendly Hammond organ instrumental knocked up in five minutes and only to be found on a rare German B-side (the A-side, an atypical traditional beer-drinking song sung in its native German at the request of the citizens of Hamburg, is the only release not to be included, apart from the US rework of Gimme Some Lovin'). Their contribution to the film Here We Go Round The Mulberry Bush, an instrumental called Waltz To Caroline, turned up on an Island label "Best Of" in 1968, retitled Waltz To Lumumba, along with the Back Into My Life Again from their final Jimmy Miller sessions and unreleased because it was "too commercial" - well, this was the sixties.
Stevie was born in May 1948 and was therefore barely sixteen when they made their first record, but had been performing live since he was twelve and his voice had an extraordinary maturity and soulful quality. The influence of Ray Charles is quite clear and I'll Drown In My Own Tears and Georgia On My Mind, both superb renditions, were presumably learned from his versions.
Their choice of material, ranging from the Soul Sisters, Brenda Holloway, the Malibus, the Coasters, Prince La La, Ike and Tina Turner, Rufus Thomas, Little Richard, Jimmy Hughes, Roy Alvin, Bettye Lavette, Bobby Parker, Bessie Smith, Stonewall Jackson, Leadbelly, the Impressions, Ivory Joe Hunter, Elvis Presley, Elmore James, Percy Sledge and Don Covay, shows their immersion in then hard-to-find current and older American music, some of it brought to their attention by manager and producer Chris Blackwell and Scene club proprietor and UK Sue label supremo Guy Stevens, though their own material (and songs tailor-made for them by Jackie Edwards) for singles tend to be the most polished productions. Keep On Running, Somebody Help Me and Gimme Some Lovin' were all number one hits in the UK, and their swansong I'm A Man, probably their finest single recording, was a top ten hit. Only their first single Dimples failed completely to chart in 1964 and that found itself in competition with John Lee Hooker's 1956 original, re-released while he was in the UK to promote it.
Although this collection begins in 1964 and all the most recent material is on the second disc, the running order is far from chronological, with the two 1966 albums spread over both CDs in seemingly haphazard fashion so some listeners may care to re-program their CD players at least once for an authentic listening experience

Great sounding collection of the UK releases of Spencer Davis Group while Steve Winwood was lead singer. It includes the non-US version of "Gimmie Some Lovin'". Not a remix like the notes say, but a completely different recording from the one that was the hit in the US. The collection should've included both.

Also, even though there's previous few SDG tracks mixed in stereo, there are a couple; "Let Me Down Easy" was listed as by Stevie Winwood and issued on the rare UKL Island LP "British Blue Eyed Soul" in first-rate stereo. The track is listed as written by "unknown", but, of course, it's a cover of the amazing original by Betty LaVette. The song was written by Holloway and McDougal. Also, "I'm A Man" was previously available in stereo, as well.

So if you have one ear...and a very good ear, you'll love this collection.

I knew the basic story of TSDG and Steve Winwood, but like most, what I had actually heard was mostly limited to their two biggest US hits (Gimme Some Lovin' and I'm a Man) - and what great songs they are. But I've been on a "rediscover British Blues kick," and thought it long overdue that I hear the rest of their work. This is the one album to get, as it includes everything from the studio (and 2 live cuts) Winwood recorded with them.

I give it 5 stars not only because of the actual songs or performances, but because of the combination of factors: A) compelling, solidly crafted English Blues from its earlier years - sometimes understandably derivative, but with an honesty and charm all its own; B) the historical importance and interest both in terms of British Blues and Winwood's own development; C) a real sense of fun and discovery in hearing most of these songs for the first time, and realizing how good much of the material is - and since it is largely true to the blues and jazz roots they were tapping in to, the music is fairly timeless, and holds up today; D) it is refreshingly underproduced - but the Hammond organ brings a depth and richness that keeps it from seeming sparse.

The real revelation for me - this set contains the original British release of Gimme' Some Lovin' (not the U.S. version) - absent the piano, vocal, and percussion overdubs evident in the US release. As much as I love the version most are familiar with, by the third listen, I thought - "No, THIS is the definitive version." Winwood's vocals and organ just stand out so much more.

The Spencer Davis Group were one of several excellent British R+B bands of the sixties. Best remembered in Britain for Keep on running (one of the best songs of the the sixties, regardless of genre), by the time they started to make an impression in America, they were on the verge of losing their key man, Steve Winwood.

They actually had three #1 records in Britain (Keep on running, Somebody help me and Gimmie some lovin') and several other big hits, including Strong love, Every little bit hurts (a cover of the Brenda Holloway song) and I'm a man (also a hit in America). A remixed version of Gimmie some lovin' was a hit in America. The version on this anthology is the original British recording.

All these recordings were laid down between 1964 and 1967, when Steve Winwood quit to form a new band, Traffic. The other band members struggled on for a while, but those recordings are not included here (and are not as good). Apart from the British hits, you will notice many covers of blues and R+B songs, including Georgia on my mind (Ray Charles), Dimples (John Lee Hooker) and When a man loves a woman (Percy Sledge).

If you are thinking of buying this anthology, you are probably familiar with some of their music already, and you're looking for more of the same, which you will find here. If you are new to their music, you should try one of the single-CD compilations first. You may find that such a compilation satisfies your needs.

Great collection of one of the best R&B band.All of today's "new" R&B artists should listen to that music before they go to sleep. "When A Man Loves A Woman" is a best example(we all know that "other one" by Percy Sledge with a whining Farfisa organ).I strongly disagree with some other reviewers...but again every taste is different and not everyone can "feel" the real blues. Steve Winwood was a very young musician when he sang some of these tunes,like "Georgia..." or "Nobody Loves You...",yet he sounds like old experienced bluesman and strongly stands up to the master Ray Charles.Did you know that most of the recordings are "live" - studio first takes without overdubs? How many bands can do it today? I waited 20 years for that compilation and it was worth it! This band is one of a kind.Just like "Beatles" ,"Dave Clark Five" ,"Procol Harum"... Music is great ,quality of some recordings.... who cares!!....I listen to music not hiss.

Hmm...don't understand the lukewarm ratings below. These guys were the real deal, and even if Spence couldn't sing so well, they were a first-class R&B outfit, with a great drummer and, of course, Winwoods peerless instrumental and vocal skills. They didn't write themselves, but worked with great writers and chose great covers. Absolutely seminal R&B collection.

The Spencer Davis group was among the finest groups in the 1960s, featuring the soulful vocals of Steve Winwood, backed by a strong band, all of whom played well, and supported him with effective background vocals. The group is best known for "Gimme Some Lovin'" and for many people, that may be the only track they have ever heard from the band. The version on this album is NOT the version you know, which was created by the record company with backing vocals from Traffic, the band Winwood formed after leaving Spencer Davis. The standout track is their first hit, recorded when Winwood was a mere 17 years old, "Keep on Running" with its fuzztone lead guitar, an insistent, driving rhythm, and the soaring vocals provided by Winwood. The other top tracks include "I'm a Man," "Back into My Life Again," "Somebody Help Me," and "Strong Love." Winwood's version of "Georgia on My Mind" sound eerily like that of Ray Charles. There are many, many good tracks on this album, which is a complete collection of all the songs from the band when Winwood was lead singer. According to the liner notes, the band chose the name Spencer Davis because he was the only one who enjoyed doing interviews. As a complete collection, there are definitely some weak tracks, but they are outnumbered by all the good ones. This collection may be too comprehensive for a casual fan, or someone new to the group, who might best be served by a single CD of the greatest hits. Then again this compilation costs only a bit more than one of those single CDs and might be worth getting, just in case you get hooked on their music, which is likely to happen.

Unless you're a rabid fan of the group, or of straightforward early-sixties' r&b, you won't find much to sustain your interest on the first CD. It sounds like good fun at first, but several workingman's songs later it's all much the same and not terribly exciting. There are a few exceptions, to which I'll come in a moment.
At this early stage, little Stevie's voice is not yet as expressive as it would quickly become, and while the band is functional, it does not distinguish itself in any way. This was not helped on stage, where the guys seemed to be made of wood, and, what's worse, Spencer Davis often appeared utterly absent. He seldom cracked a smile, seldom even looked at an audience rather than a fixed point above their heads, and only Steve's brother Muff exuded some warmth. All this makes it likely that, had it not been for Steve Winwood, the wonder boy, this band would likely have sunk out of sight very quickly. It's fair to assume that such hits as "Keep on Running," written especially for the band, would have been written for them without Steve as well, but whether "Running" would have made the impact it did if it hadn't been for Steve's fuzz box and Steve's voice is anyone's guess. I believe that it wouldn't have, so, for better or worse, this compilation is really a compilation documenting Steve's growth as a musician.
Toward the end of the first CD, the transformation is audible, and continues unabated on the second CD, where indifferent pop tunes are replaced by serious blues, Steve's forays into jazzy territory (he sounds inspired by Booker T. when he plays the organ), and, of course, the superior hits that haven't aged a day: "Gimme Some Lovin'"," I'm a Man, " and so on.
If nothing else, this collection serves as a monument to Steve's outrageously good guitar playing. He is an absolute master of the blues guitar, and your ears will first perk up on one of those exceptions on the first CD: "Oh! Pretty Woman," a live recording on which Steve makes me wonder why he ever decided to retreat into the shadow of his friend Eric, because his solos are not only technically accomplished, they are expressive in a recognizably Winwood style, with long melodic sequences. He repeats the trick on "Mean Woman Blues," "Dust My Blues," and "Neighbour Neighbour." Neither this last one nor "Oh! Pretty Woman" can be easily found unless you own some of the original recordings; they are certainly not part of Steve's later compilations. For these gems alone, this collection is recommended, but you aren't going to be disappointed if you prefer your Steve at the keyboard. With that instrument, perhaps even more than with the guitar, the progress from a few chords to pro's chops on such tunes as "Stevie's Groove," "Waltz for Lumumba," and "Blues in F" is stunning. As for his singing, while "Georgia on My Mind" and "When a Man Loves a Woman" are imitations of their originators and don't really count (the voice is splendid, but the interpretation isn't very original), by the time Steve has graduated to "Nobody Knows You When You're Down and Out" and the superbly subdued and romantic ballad "Together till the End of Time," there is little doubt that he is deeply engaged with what he sings. This is amazing when you consider that "Together till the End of Time" is a mature song of a man speaking of married life and intimating the beauty of growing old together - and Steve hadn't quite gotten rid of adolescent acne yet!
Several songs (such as some of the previously-mentioned blues) are sung by Davis, and at first hearing it's a surprise: he is a very good singer, and at the band's beginnings he can actually be mistaken for Steve: their voices are quite similar. Once Steve let his feelings come out, however, mistaking him for the sedate Spencer became impossible.
As a note of interest: before he mastered the slide cylinder, on stage Steve played the famous sliding riff on "Dust My Blues" -- simply with his fingers. It sounded perfect. He did this as he did a lot of other things that were maddening to the rest of his peers: with absolute ease. And he never ceased to surprise: in performance with Traffic, he sat at the keyboard for a good part of the concert, and it didn't seem like he planned to do anything else. Then he quietly stood up, came up front, picked up his Fender, and, upstaging the otherwise excellent guitarist Dave Mason, went into "Dear Mr. Fantasy."