The enduring legacy of British blues-rock pioneers Savoy Brown receives a comprehensive retrospective with the expanded digital release of Too Much of a Good Thing: The Savoy Brown Collection 1992-2007. Originally issued independently in 2009 by Panache Records, this curated 14-track, 72-minute compilation has returned to streaming and download platforms. Spearheaded by the late guitar virtuoso and band founder Kim Simmonds, the collection serves as both an archival treasure trove and a celebratory testament to a revolving cast of world-class musicians who sustained the band’s signature boogie-infused sound over decades. Simmonds, who passed away in 2022, personally assembled these recordings to honor his favorite studio configurations and trusted sidemen. The newly refreshed digital edition introduces a previously unreleased live track recorded at Boston’s House of Blues in 2000, offering listeners a potent dose of unadulterated, raw power blues.
Main Facts and Musical Composition
Spanning a fifteen-year creative window from the early 1990s through the mid-2000s, Too Much of a Good Thing captures Savoy Brown during a phase of remarkable artistic resilience. Rather than relying solely on the classic-era lineup that initially propelled the group to international prominence in the late 1960s and 1970s, this collection highlights Simmonds’s ability to adapt and thrive alongside successive generations of master instrumentalists. The tracklist navigates a diverse landscape of traditional Delta shuffles, driving uptempo boogies, poignant slow-burn blues ballads, and searing instrumentals.
The musical journey commences with "Going Down to Mobile," a Delta-flavored shuffle featuring the guitar prowess of Duke Robillard and the dynamic keyboard work of David Maxwell, augmented by an uncredited appearance from harmonica player Paul Oscher. The momentum builds immediately with the seven-minute workout "Little Wheel," which showcases the rhythm section of drummer Dave Olson and bassist Jim Heyl prominently in the mix, alongside evocative reed work from Pete McMahon.
As the album progresses, the emotional register shifts gracefully. The ballad "Keep on Rollin’" highlights Simmonds’s deft, well-modulated touch on the strings, while tracks like "That’s All I Want Baby" and "The Blues Keep Me Holding On" rely on a gentle, swaying boogie groove. The latter tune serves as a lyrical reflection on finding solace in the music amid personal trials, anchoring the album’s thematic exploration of heartbreak and endurance.
Later in the tracklist, Simmonds pares down the ensemble to a tight power-trio format alongside bassist Gerry Sorrentino and drummer Tom Compton for "I Don’t Remember You," which slowly simmers before erupting into a flurry of signature Simmonds fretwork. The instrumental showcase "Flat Out" provides ample space for unbridled guitar exploration, contrasting with the thematic despair of relationship-focused tracks such as "When It Rains," "Yesterday’s Blues," and "Monday Morning Blues." The standard sequence culminates with the instrumental ballad "Feel Like Crying," the slow-grooving "She’s Leaving," and the introspective "Where Has Your Heart Gone," before closing with the newly added live title track.
Chronological Context and the Evolution of Savoy Brown
To fully appreciate the significance of this collection, one must examine the broader timeline of Savoy Brown, an outfit that stands as one of the most enduring institutions in the history of British blues. Founded in 1965 in a London suburb by Kim Simmonds, the band emerged during the vanguard of the British blues boom alongside contemporaries like Fleetwood Mac, John Mayall’s Bluesbreakers, and the Rolling Stones.
During their late 1960s and early 1970s peak under the Decca/Deram labels, Savoy Brown earned a reputation as a relentless touring machine, conquering major American venues and cementing their status as architects of high-energy boogie-rock. However, much like Miles Davis or the Yardbirds, Simmonds maintained an ever-evolving lineup. Dozens of musicians passed through the ranks over the decades, many of whom used their tenure in Savoy Brown as a springboard to greater renown or brought established reputations into the fold.
The era covered by Too Much of a Good Thing (1992–2007) represents a period of mature craftsmanship for Simmonds. Having relocated to the United States, he continuously revitalized the brand through independent releases and relentless touring schedules. By 2009, when Simmonds initially compiled these recordings for Panache Records, he was looking back at nearly four decades of musical evolution. The collection acts as a vital bridge between the band’s historical roots and its modern incarnation, honoring the collaborative spirit that kept the enterprise moving forward.
Behind the Roster: A Rolling Collective of Blues Elite
A defining characteristic of Savoy Brown has always been the caliber of talent Simmonds managed to attract and retain. The roster featured on Too Much of a Good Thing reads as a who’s who of contemporary blues and roots music royalty.
On guitars, Simmonds shares the spotlight with acclaimed virtuoso Duke Robillard—a co-founder of Roomful of Blues and a Grammy-nominated artist in his own right—and stellar sideman David Malachowski. The keyboard department is equally formidable, anchored by the legendary David Maxwell, whose illustrious career included work with Muddy Waters, Freddie King, and Bonnie Raitt, alongside keyboardist Rick Jewett.
The rhythm sections driving these sessions represent decades of collected groove and precision. Bassists Nathaniel Peterson, Leo Lyons (of Ten Years After fame), Andy Ramirez, Jim Heyl, and Gerry Sorrentino locked in with drummers Tom Compton, Dave Olson, Joe Pierleoni, and “T” Xiques. Harp duties were expertly handled by Pete McMahon, rounding out an ensemble capable of shifting effortlessly from traditional acoustic-leaning shuffles to thunderous electric blues-rock.
The inclusion of the previously unreleased live version of "Too Much of a Good Thing," captured at Boston’s House of Blues in 2000, provides a vital window into the band’s live chemistry. Driven by Simmonds’s trademark fuzz-intoned slide guitar and gruff, commanding vocals, the live track demonstrates how the studio arrangements translated into the sweat and energy of a live club environment.
Industry Implications and Cultural Legacy
The digital re-release of this collection arrives at a time of renewed interest in the preservation and digital accessibility of classic blues catalogs. Following Kim Simmonds’s passing in August 2022 after a battle with stage 4 colon cancer, the global blues community has focused heavily on celebrating his towering contributions to the genre. Simmonds was not merely a bandleader; he was a tireless ambassador for the blues, maintaining a grueling tour schedule right up until his final years.
Music historians and industry analysts note that archival releases of this nature serve a critical function in the modern streaming economy. For legacy acts, expansive digital editions allow independent labels—such as Panache Records—to keep complex catalogs visible to younger generations of listeners who discover music primarily through algorithmic discovery and digital playlists. Furthermore, by highlighting the specific contributions of sidemen and guest artists, the collection underscores the collaborative nature of blues music, challenging the notion that the genre is driven solely by singular frontmen.
While critics and longtime aficionados may debate whether a compilation can fully replicate the immersive, cohesive experience of the original studio albums released during the band’s prime, Too Much of a Good Thing stands firmly on its own merits. It offers a master class in fuzz-toned slide guitar work, impeccable ensemble interplay, and unyielding dedication to the craft. For both devoted fans of Simmonds’s lifelong body of work and newcomers seeking an accessible entry point into modern British blues-rock, this expanded collection secures its place as an essential chapter in the ongoing narrative of Savoy Brown.
