Description "HELLBOUND TRAIN" (Kim Simmonds / Andy Silvester) Hellbound Train, I'm on it's track, Too late now to turn my back.  Conductor coming, ticket in his hand,   Come to claim my soul,   Take me to his land.   Hellbound Train, I been so wrong,   Too late now, I'm moving on.   Conductor standing, watch in his hand,   Got to get aboard, take you to his land.   I'm going down the road on the Hellbound Train,   Take a long look lady, 'cause you won't see me again,   Take a last look lady, yes, hard and long,   'Cause I'm going down the road on the Hellbound Train.   Hellbound Train, driving slow, Move on down to the Hell below, Conductor please won't you lend a hand?   Got to get on board take me to your land. Yes, I know I've been so wrong,   Too late now, I'm moving on,   Hellbound Train I'm on it's track,   Moving down I can't look back. I'm going down the road on the Hellbound Train,   Take a long look lady, 'cause you won't see me again, Take a last look lady, yes hard and long,   'Cause I'm going down the road on the Hellbound Train.   I'm going down the road on the Hellbound Train,   Take a long look lady, 'cause you won't see me again,   Take a last look lady, yes, hard and long,   'Cause I'm going down the road on the Hellbound Train.   Lost and flying down the road, on the Hellbound Train,   Lost and flying down the road, on the Hellbound Train,   Hand and hand with the devil. SAVOY BROWN: "Hellbound Train" LP. RARE FIRST UK PRESSING, OCTOBER, 1972. ON THE STEEL BLUE & SILVER DECCA LABEL: TXS 107.   In the early 1970's Decca did not have a fixed colour for their boxed logo labels, the same dark blue from the 60's was the most   common colour, but green and this steel blue were also in circulation.  By contracting at least six different printers, variations are numerous for the whole of the decade, as I'm constantly detailing for their labels, the same LP titles from the same pressing batches appeared with different colour labels.  Just check out the 1970's Rolling Stones Decca LP pressings for those variations! I always hesitate to give specific's because sellers leap onto minor variations and instantly believe they have 'found' something rare, then the opening bidding price also 'leaps' out of all proportion to the condition.  In the 1970's, red & silver boxed logo labels for mono re-issues added to colour schemes, plus grey, light blue, purple & even black!  For LP titles that failed to sell like "Hellbound Train," I have only ever seen steel blue and green labels but I would not be the slightest bit surprised if there were dark blue labels on some first pressings. As I constantly state, labels were printed well in advance of the vinyl pressing, the place to look is always the indexing, made when the vinyl was still molten, then you have a precise frozen moment in time. Now the printed items, covers, labels and any inserts like lyric sheets etc. and not forgetting original inner sleeves either, all combine to produce the definitive identification for the pressing date.   I wrote that because I just looked on ebay to see if another UK pressing of "Hellbound Train" was listed, as expected for such a rare album, there was not and I extended my search onto the internet in general.  Just American pressings on the 'Parrot' label as usual, but I also found overseas websites incorrectly stating the UK pressings were only on green Decca labels, a conclusion based on seeing a handful of first pressings and perhaps as low as one copy!   Records were pressed in minimal quantities, regardless of selling or charting and you cannot make assumptions based on such limited experience and be accurate, a low pressing figure was around 25,000, so seeing even 100 copies would still be just 'a drop in the ocean.' The fact is, all 1972 UK  Decca first pressings of "Hellbound Train" are extremely rare regardless of the label colour, for this unplayed, totally unmarked Mint pressing record, in a Mint laminated gatefold cover, 'rare' is something of an understatement. 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:  SAHS - 1616 . P  - 1W   SIDE 2:  SAHS - 1617 . P - 2W All the first pressing I have seen had the above without any exceptions, there might be a '- 1W / -1W' wnding out there somewhere but I doubt it very much.   Incidentally for anyone new to my descriptions, we have been trading on ebay for 13 years and before that, professionally at record fairs from the 1980's.  Having been a record fanatic since the early 1960's I am fully experienced but still state even a lifetime with vinyl cannot give anyone complete knowledge... because variations exist in greater numbers than duplicated or standardised records, covers and inserts.  Even when pressed concecutively, no two records are alike! DECCA MOTHER STAMPING AT 9 O' CLOCK IN THE RUN-OUT GROOVES ARE '1' ON BOTH SIDES, AT 3'CLOCK, CODED LETTERS CONTAIN THE ACTUAL ORDER INDIVIDUAL RECORDS WERE MADE IN: SIDE 1:  GC  1 = Record No.73, From The First Mother   SIDE 2:  CM 1 = Record No.30, 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 failed to sell or enter the charts.   To offset the 'experts' on the internet and text books, I constantly have to contradict outrageous statements  that other's believe to be solid facts.  As I said, these Are the solid facts, machine stamped into molten vinyl, with experience they can easily be deciphered. ORIGINAL 1971 POLY-LINED DECCA INNER SLEEVE, THE FRONT BOTTOM LEFT CORNER HAS THE DATE IT WAS PRINTED;  '9-72'  = 'September,1972', ONLY A FEW WEEKS BEFORE "Hellbound Train" WAS RELEASED.   UNUSED TWICE, UNSPLIT, WITH LIGHT AGEING AND A RECORD IMPRESSION RELATED.   THE INNER SLEEVE IS IN EXCELLENT+++/ NEAR MINT CONDITION.   FIRST ISSUE 'Robert Stace' PRINTED LAMINATED GATEFOLD COVER, WITH SUPERB David Anstey ARTWORK ON THE OUTSIDE, INSIDE COVERING BOTH PANELS IS A CONNECTED COMIC STRIP STYLE CONTINUATION. The sheer quality of the prining and deluxe thick and glossy lamination, clearly demonstrates a 1972 first edition cover, just to confirm late 1972, the actual shape of the cover is 1960's.   The 60's had only just slipped over the horizon and the bowed shape of the cover shows how close 1972 was that decade of wonder, normally squashed out of shape, this astounding condition cover is exactly how it was first made ...in 1972.   Why make a bowed shape cover in the first place?  First, because it had an   aesthetically appealing visually, secondly it made removing and replacing records easier than from a flat cover, a bowed was not being forced open and it minimalised wear on the opening edges. Please see my pictures for that distinctive 60's shape as well as the sensational appearance of the outside and inside, the colours are nothing less than spectacular on David Anstey's sublime, amusing depiction of the "Hellbound Train."   How this survived so perfectly was a minor miracle, the inside is still the 1972, unaged pure white background to jet black printing, nothing prepared me for such a stunning cover , there is no wear anywhere and anything approaching negative comments, are too trivial to write, but I will anyway.   Inside, the top corner tips had just a tiny amount of glue from the assembling, found on virtually every cover made in any decade and too minor to take seriously. Two tiny laminate edge lines next to the spine completes that, as I said, there is no wear and certainly nothing that was not there in September,1972 when the cover was also made.  For once I will not add a minus for next to nothing, my pictures are there to see and they fall short of actually holding and seeing this sensational condition "Hellbound Train" first edition cover. The spine, edges and corners are immaculate and not only was this perfectly stored, it has never been handled. THE COVER IS IN MINT CONDITION. "  FOR THAT ULTIMATE GRADING FOR A 42 YEAR EXTREMELY RARE GATEFOLD COVER, THE RECORD SIMPLY HAD TO ALSO BE IN THE ULTIMATE CONDITION.  WHICH INDEED IT IS, THERE ARE NO SPINDLE ALIGNMENT TRACES ON THE PRISTINE LABELS, THE RECORD IS UNMARKED AND LIKE NEW, IN UNPLAYED, MINT CONDITION. SIDE 1 "Doin' Fine" (Kim Simmonds / Andy Silvester) "Lost And Lonely Child"  (Kim Simmonds) "I'll Make Everything Alright" (Kim Simmonds) "Troubled By These Days And Times" (Paul  Raymond) SIDE 2 "If I Could See An End" (Kim Simmonds / Paul  Raymond) "It'll Make You Happy" (Kim Simmonds) "Hellbound Train" (Kim Simmonds) Dave Walker - vocals Kim Simmonds - guitar, harmonica & vocals Paul Raymond - guitar, keyboards & vocals Andy Silvester - bass Dave Walker - vocals Dave Bidwell - drums Recorded at Trident Studios, London. Produced By Neil Slaven For Gruggy Woof.   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 42 years.  Instead I will write a full background to both Savoy Brown and their sublime 1972 "Hellbound Train" 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 their November 1970 album,"Lookin' In", not exactly earth shattering at No.50, after seven days it   disappeared into oblivion. Even "Looking In" is extremely rare in playable condition because regardless of 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 have survived today and why I find worrying   about rubbing on the spine secondary to a 1971 record still looking and sounding like brand new.  If it was possible I would list   them all as often as possible, in reality 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 do also regularly moan   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 so 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 Mint "Hellbound Train" for the very first time on ebay.     I had better not get too involved with their LP's that preceeded "Hellbound Train," well, as the line up of Savoy Brown was unchanged  since their 1971 previous Decca label album "Street Corner Talking," I will need to focus mostly on the immediate background and   traumatic events in late 1970 to 1971.  At one point there appeared to be no way there would be a seventh & eighth Savoy Brown   LP's, the loss of lead vocalist Chris Youlden in May 1970 was the first obstacle to overcome. '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 personell changes,for example, just look at the different line up's of Deep Purple in the 1970's decade and the   many related bands who 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 permanent 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."  You would hardly recognise the song because the band played it slow and bluesy, with incredible musicianship, Paul Raymond's organ contained the blues feel of Chicken Shack, this really was am amazing line-up of Savoy Brown and with Kim's sublime lead guitar, that long track alone is worth hearing the album for. They performed it as late night blues, that sums up the whole LP because the real backbone was good old blues played as heavy rock right from the opening sounds of Side 1, a superb slide blues guitar intro to "Tell Mama" told you Savoy Brown were not only back, they were indeed rejuvenated.  That opening track was so well written and performed, an edited version was released as a single and also announced Dave Walker had well and truly replaced Chris Youlden, the early 1970's was such a great period for blues/rock.   How could "Street Corner Talking" have failed to sell in Britain?  I still cannot understand,s for this line up who next recorded "Hellbound Train" ,if I had to make comparisons to contemporary bands in 1971, somewhere s between Free and Deep Purple would roughly fit, that was some compliment and just how superb this new  line-up were.   Little wonder the music press gave such rave reviews in the UK and the USA, but they had to accept the rejection of their British   fans and push onto the next chapter.  An exciting one,  best summed by the stunning Kim Simmonds composition "Hellbound Train"   the album was titled after, blues/rock at it's most inspired.  The musical chemistry  produced a really tight band, able to build   from their blues roots and create an album worthy of such talented musicians, I suppose 'progressive' has to enter the equation   but I dislike how distorted and abused that term has become now.  Those my age will understand why, bands like Savoy Brown never   had the acclaim lesser talent was showered with, I always hear an influence from The Doors on "I'll Make Everything Alright",   good old blues boogie, but Paul Raymond's superb organ transformed the track into a completely different direction.  The r&b of   "Street Corner Talking" was still part of their repertoire, especially during the aptly titled "Troubled By These Days And Times,"   they were performing gospel and with real authority. For all that, Savoy Brown were an amazing rock band and not being able to   describe the actual tracks is very frustrating, then just offering a Mint first pressing is more important than having the tracks   thundering out my speakers, I think I will end it here before the temptation to play the record becomes too difficult to resist.   Knowing how stunning the sound will be from a Mint Decca first pressing, is also a reason not to sound grade such pristine vinyl.   {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.  Over twenty years ago now 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   vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be, the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly and very efficient service we are proud to provide; EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.   I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY   FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK. THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBITY FOR A RECORD WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.   MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION. ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.   WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT RECORDS AND COVERS ETC.  WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD. ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES. THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE. EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS TREATED EXACTLY THE SAME. WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES WEIGH A LITTLE EXTRA. UNDER PAYPAL & EBAY'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE SERVICE. We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we will have to increase the cost of LP's, however, singles will remain unchanged.  Ebay were aware of that happening and have   increased their minimum postal cost for LP's to £7.00, that figure has been enforced by the UK Post Office and it will become our UK First Class, Recorded Delivery cost for albums up to the value of £46.   For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant in 12 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future. IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE SENT SPECIAL DELIVERY.   FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.' POSTAGE  COST FOR LP's UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY  £7.00 UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00 EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR  £15.00 USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00 POSTAGE COST FOR EP's & 7" UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00 UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00 EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00 USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00 PAYMENT DETAILS. WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS, AS NEAR TO THE AUCTION ENDING AS POSSIBLE. OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE. FOR UK BUYERS; WE ACCEPT:  PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES. FOR OVERSEAS BUYERS; WE ACCEPT:  PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY. OR BANK TO BANK WIRE TRANSFERS. WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY. AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT DUTIES, WE WILL NOT LIE.   Pay me with PayPal. I don't charge my buyers extra!