Formed in 1963 by Spencer Davis, Steve and Muff Winwood and Pete York, you might be forgiven for mistaking the quartet to hail from Birmingham, Alabama and not Birmingham, UK.

Heavily influenced by American acts and their rock movement, The Spencer Davis Group emitted a soulful rock ‘n’ roll sound, arguably matching what was explored by fellow rhythm ‘n’ blues-ers, The Animals (though the latter was far more commercially successful).

Experiencing a noteworthy “breakthrough” into the industry, but not achieving any further significant commercial success, the recognition of The Spencer Davis Group’s influence does appear to grow as time goes on. Though having less of an immediate impact on the international music scene, their influence as a British rhythm ‘n’ blues collective is fervently regarded.

With his “ferocious soul-drenched vocals belying his tender teenage years”, Steve Winwood powered the Spencer Davis group, though the face of the band was that of their Welsh guitarist. Davis and Winwood met as determined tweens, soon calling York and brother Winwood to join their line-up. Being discovered by industry top-dog Chris Blackwell at a pub in 1964, the quartet signed their first contract with Island Records, which was soon to become one of the leading labels in the industry:

"When I walked in, Spencer Davis was singing, and I really loved that. Then Steve sang and I couldn't believe it. It was like Ray Charles on helium. Unbelievable." (ref)

On the decision for Spencer Davis to become the titular character of the band, drummer Muff Winwood reminisced on Blackwell’s early input on their name:

"Blackwell wanted to call us the Vipers or the Crawling Snakes or some outlandish thing. Spencer was the only one who enjoyed doing interviews, so I pointed out that if we called it the Spencer Davis Group, the rest of us could stay in bed and let him do them."

Selecting John Lee Hooker track, “Dimples” as their first professional recording, the band chose Jackie Edwards penned song, “Keep On Runnin’” as their official debut single. Topping the charts at no.1 in late 1965, the release was praised as quite the unique and energetic arrangement and driven by its feel-good appeal.  Following the successful debut with singles, “Somebody Help Me” and “When I Come Home”, it was October ‘66 single, “Gimme Some Lovin’” that saw them back in the top 5 (only held off by The Monkees’ smash hit, “I’m a believer”).

In 1967, the band saw UK and US success with single, “I’m a Man”, which earned gold record status:

“'I'm A Man', constructed around the descending chord sequence in the chorus of Mel Torme's jazz tune 'Comin' Home Baby'. Producer Jimmy Miller provided the lyrics, Hendrix showed Spencer Davis the distinctive E7th guitar chord, and Winwood pulled the rest together”

Maintaining their status in the global scene and seemingly “back on top”, the band appeared to be fully in their stride. However, the sudden departure of the Winwood brothers on the turn of new success left fans truly shocked, and members Davis and York hurt and disappointed:

"Chris Blackwell told us, which was kind of hard to take, Why couldn't Steve come and tell us himself? And then, once Blackwell had Steve safely out of the group and into Traffic, he lost interest in us. He had what he wanted."

With Steve beginning his new venture with the band Traffic, and Muff entering into an A&R career at Island Records, Davis and York continued on, bringing in guitarist Phil Sawyer and vocalist/keyboardist Eddie Hardin.  Though enjoying positive airplay with single, “Mr Second-Class” and album, “With Their New Face On”, The Spencer Davis Group could never return to what it once was. Officially splitting in July 1969, each member respectively pursued other music ventures, and the band’s original formation never reunited. 

Despite such a short career and a heartbreaking split, The Spencer Davis Group remain an influential component of Britain’s rhythm ‘n’ blues scene. Their tight musicianship offered many defining features to their character: Distinct, soulful vocals, an organ-dominant sound and accessible bottom-heavy grooves. At their brief peak, The Spencer Davis Group had it all, but the cut-throat industry could never confirm its longevity. 

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