I'm a keen observer, i love extra-rice, i'm weird so deal with it. I'm the best special kind of twisted person ever so don't bother to figure me out. No one is going to hand me success I must go out and get it myself, That's why I'm here. To DOMINATE. To CONQUER. BOTH THE WORLD AND MYSELF. 
-oh by the way Im a SUPERSAIYAN.



Chris Simmons is a well-established artist who has toured with major acts such as Sir Tom Jones, Paloma Faith, and Simply Red, and has performed at prestigious festivals like Glastonbury and the Isle of Wight. His emotionally rich songwriting and powerful live performances have earned him a loyal fanbase, with shows selling out around the world and fast growing radio support in the UK.
However, his journey has been marked by a series of devastating personal tragedies.
In 2014, Chris and George Ezra were among the top industry picks for success, and the future looked incredibly promising. Tragically, after the release of his first single, Chris’s brother took his own life. Despite this loss, Chris recalibrated and started releasing again, only to lose his father a few months later. Eighteen months after that, his
mother passed away, and just as he was about to embark on his biggest ever headline tour of the EU, the COVID-19 pandemic derailed those plans.
Amidst these challenges, Chris remained focused on his music. His recent single was a triumphant testament to his resilience.
A Cold December was a surprise top ten Christmas hit, fiercely championed by regional radio, and charting at Number 8 in The Official UK Physical Sales Charts and Number 26 in the Official Sales charts. All this was achieved independently with no PR, team or
huge marketing spend. It was the first time an unsigned act has achieved an Xmas top ten, and this project stands as a powerful reflection of both Chris’s personal journey and his deep commitment to creating meaningful music.

“Majestically dark with the medieval lyrical theme creating an atmosphere that truly draws you in, recalling Neil Finn in his 'Private Universe' pomp. You can't also help but notice a McCartney influence in Simmons' songwriting which is attracting collaborations with Chris Difford (Squeeze) amongst others. Seriously one to watch.”
 -- MUSIC WEEK


"A great songwriter with an incredibly distinctive voice"
 -- JACKSON BROWNE


“British, brooding and expansive songwriting. Love it!”
 -- Tom Robinson - BBC 6 MUSIC


“If you like Damien Rice, David Ford and Matthew Jay, then you need to give Simmons a listen”
 -- The 405


"One of the best songs of the year" - 'The Occupant' -Single Of The Week
 -- Caught In The Carousel (USA)


 5/5 - Wireless Magazine

"Lyrically akin to Brett Anderson in his prime."
 -- EVENING ARGUS

Autumn 1994 - Mini are formed in Upminster, Essex. The band were Gary Davies and Scott Richardson, from the recently disbanded Romford rock band, Badface, Glen Johnson and Andrew Warden who had previously been in other bands together on the Romford scene. Regular Sunday rehearsals were held at Johnson’s house, with the band setting up around a snooker table in Johnson’s mum bar.

Johnson fronted the band and played bass, generally taking much of the lead vocal work along with some songs which were mature far beyond the age of the writer. Mini celebrated their foundation with a curry on New Year’s Day 1995 where despite being served cold rice and warm lager, they vowed to carry on (visiting the establishment) and writing and gigging together.

Throughout the 1995 and 1996, Mini appeared often on the local scene, with their most regular appearance being at the legendary and sadly missed Romford venue, Charmers (a.k.a The Cellar Bar or The Rezz) which hosted Mod/Indie nights on Wednesdays. They also appeared at several of the larger London venues of the time including the Bull and Gate in Kentish Town.

Their style of music was unique to the scene, combining well crafted pop songs with lush four part vocal harmonies led by Johnson and Richardson, the sweet Rhodes piano of Warden with Davies’ spiky guitar work, and it was in sharp contrast to the harder edged and less sophisticated sounds of many other acts of the time. This sound was committed to tape on several occasions at various studios and a number of those early recordings still exist and the band are currently in the process of digitally remastering them for nostalgia value.

By 1999, all the band members had found themselves unable to commit the proper amount of time to the band and Mini took a break. This hiatus lasted until 2003 when Davies and Warden started working together again to record for posterity some of Mini’s earlier and unrecorded work. Russell Hayward, a long time friend of the band heard this news and persuaded Johnson to rejoin the band and once Richardson was on board, Mini was back on it’s wheels again. Hayward had been presenting a powerpop radio show called “Cherrybombs” on Virgin Radio’s Liquid London DAB station with another long time friend Paul Reeves and was keen to get Mini on the show. Mini recorded a live session and took part in an interview with Hayward and Reeves which went out on the network; after that it was all systems go.

Mini went back to the studio to work on new material and made an appearance at the October 2004 International Pop Overthrow Festival in Liverpool. Further shows in 2004 and 2005 took them further afield, down to Brighton for a showcase appearance and to Guilford for a live show and another radio appearance, this time on Eagle FM. The obligatory London and Romford shows also took place.

Sadly for Mini, Johnson had decided that his time in the band was to come to an end and his 2006 appearance at International Pop Overthrow was to be his last. Mini took another short break while deciding on their future and buoyed by the buzz they were creating, asked Hayward a great musician in his own right to take up the job of playing bass for them.

Hayward accepted, joining the band in 2006 in time for the band’s third appearance at International Pop Overthrow and they followed this up with a new recording. Entitled ‘Must Try Harder’, it featured songs by Richardson, Warden and Hayward and was engineered by Nigel Clark from 90’s Britpop band Dodgy. Mastering was carried out at LoveHZ studios in Sydney Australia by Michael Carpenter. Mini then formed SARG Recordings, their own record label and you can buy the EP direct from them through this website. iTunes downloads are coming soon.

To date, Mini have played six years at the International Pop Overthrow, receiving great reviews and getting great feedback from audiences. Press commentary has been very welcoming too. The band’s future plans involve a visit to Ireland to do some new recording and as an aside, they’ve recently launched a new concept; “Mini present Guilty Pleasures”, a fun party band which moves away from the usual rock covers and aims to tread new ground with older material. A demo of this venture is coming shortly.

Guilty Pleasures are available for parties, weddings, corporate functions, bars and pubs and festivals. Get in touch with the band to find out more!

9.11.22

A friend forced me into a studio to perform live to capture a few song ideas.  Hope you enjoy Naked and Electric.  

For those new to Revboy, here is the start of the story:

In 1978, as an 18-year-old army-brat kid out of high school, I moved to NYC's Lower East Side.  It really was Alphabet City, Punk Rock and Fritz the Cat.  A wild, dangerous and stimulating environment to become a man.  Remarkably I was accepted into the inaugural NYU music business program.  Krank was formed with a couple of outlier classmates.  As a power trio we performed live at storied venues (CBGBs, Trax, Ritz, Cat Club) and were part of a community of musicians, artists, writers, filmmakers and knuckleheads.  It was an analog world and pre-AIDS.

In 1982, after interning at Artist House and Right Track Studio, I took a position at CBS Records in the video department.  MTV just went on air.  Behind the scenes, digital was starting to bubble.  I went on to found the Legacy Recordings division of Sony Music and earn my VP stripes.  I produced a few cool records along the way (The Clash, Johnny Cash. Mott the Hoople, et al) all while working with some of the greatest musicians, producers, writers, photographers and legendary industry personalities during the pinnacle of the music business.  Oh, we still had tethered phones and I did scoop one of the first PC desktops in the building.

I’m lucky I survived.

1.6.22

“True United” -  Recorded with Krank in 1982.  This studio track has never been released before.  I guess I was just waiting for the right time.  Wow 40-years later...

“Long Night Long” - Written about the bar 1 U.  We were the only kids allowed in.  Somehow I still have my scotch glass.  Recorded at Chung King with a band of brothers and special guests.  

9.13.21
"Daylight" - Twenty-years ago, we realized we lost a best friend, a brother, in Tower 2.  A few of us gathered the next day and recorded Daylight. Written and recorded 9.12.01.

8.7.19
"Kill U" - Written in 1994 and released as "Republican Fight Song" in 2004.    If you didn't see it then, you were blind or stupid.  Recorded live at Power Station.  Mixed by RIP Jason Corsaro (Madonna, Bowie, Soundgarden, et al) so it's loud.

Sing this to the face of your favorite racist today.

7.26.19
Luv Ur Self - Chris took the raw live mono track from the Shop sessions and added a few instruments to it.  It's like I was visited by Mick Ronson, Geezer Butler and Tommy Aldridge.  What a great hook. 

6.23.19
Banging around in the Shop...never know what's going to come out...here are two of my favorites from the session...one electric/one acoustic...both are new songs... its raw...WIP...(as are all of them I guess):

'Luv Urself' - written and vocalized on the fly...unedited...it just popped out...what an inspirational hook...great vamp...gotta love it...

'Healin' - originally written during the NYE sessions, first acoustic version...the verse is tightening up nice.

4.13.19
Revboy Dinner Sessions
A tight knit group of us had a bunch of kids in a short period of time.  A decision had to be made, be a musician or get a job.  I was lucky to have options.

We were good parents but needed adult time. This is when we started the multi-family dinner jam parties.  Yea, we invented them.  We traded houses every weekend, mostly for cleanup purposes.  Our kids grew up together.  They learned about independence and diversity.  It was a mixed crew.  We discovered wine and drank the good stuff.  We feasted.  Then we played.

While the kids ran around, crazy and free, indoors and outdoors, a few of us retired to the remote studio and turned it up.  It was a free for all.  Here are a few snippets:

“Dream About Me”- There are few words I wish I could change, but these were made up on the spot that night, and now they live on.  No way I can ever hit these highs again.  This would be a great Broadway song...

“Family (One of You and One of Me)” - A fun track and good example of the mumbles at the beginning, than it locks, everyone joins in...A rare background vocal performance by Mini.

Led By Founding Members, Rapper/Writer J-Rizzo and Beat Maker And Sonic Architect Mr. Swift, Priesthood Scored Numerous Awards And Accolades In the Christian Rap Market For Their First Three Albums In The Early 2000s. The second generation Samoan rap group PRIESTHOOD emerged, amid diverse cultures, from a tightly knit community in Los Angeles. Picking up years after BooYaa Tribe (the first Samoan rap group to go mainstream) left off, Priesthood continues to keep things gritty and real while offering hope via their profound spiritual purpose. Quickly attracting hip hip-hop fans seeking a fresh, positive and inspiring outlet from life's daily struggles, Priesthood is embarking on a mission to touch the world with their music. On Thug Worship, Priesthood gets back to the hoods of L.A. where their journey began. The instantly infectious, ultra-provocative 17-track collection combines massively grooving beats by Mr. Swift—who hails from the SoCal town of Paramount—with the edgy, hard-hitting but ultimately hopeful rhymes and rapping of the current crew of J. Rizzo (Compton), Chico Breeze (Carson), Tapasu (Santa Ana) and Kartoon (Carson). To grasp the massive transition Priesthood has made in the years leading up to the release of this intensely personal and spiritual project, a little history is in order. Launched by J-Rizzo, Mr. Swift and a third original member, Papa Semm, the then-three piece unit became first a U.S., then a global sensation, touring the country and then throughout Japan, Mexico, Hawaii and the Virgin Islands on the massive popularity of their first three joints, Sprinkle Me Luv (1999), Keepin’ It Real (2000) and Turn Up Your Radio (2002). At one point, they were on the road doing an incredible 300 live dates a year. A truly West Coast rap group, they had a reputation for laid back grooves and tight vocal harmonies—and it was time to develop a more cutting edge approach. A couple of tracks on Thug Worship key the listener in on the multiple grooves and themes Priesthood is all about these days. They don’t want anyone to forget they are of Samoan heritage and rep the West Coast, so “In The West” has a seductive reggae tinged island vibe as the guys rap about “floating when we ride,” “palm trees swaying” and “cool breeze in the sunshine.” Love and respect for family is huge in their culture, so “Family Biz” gives shouts out to all the folks, blood related or not, who stuck by them over the years. Each member of Priesthood contributes a verse, so that no one is left out—including their brothers in prison and in the military who are sacrificing for all of us. Priesthood’s always gonna have that spiritual thing at their core, and the beat intensive, hypnotic “Goin’ Home” is, like so many of their joints, about the struggle to do what’s right and trying to live life according to what you say you believe. But rather than the traditional chariot taking them to heaven, they’re keeping this discussion grounded in the hood, where a low rider will be the vehicle to the afterlife! Amidst the deeper themes, Priesthood loves to just let loose and have fun. “So many people these days focus on what people don’t have in common, but Priesthood are all about what we do have in common, despite our big differences,” says J-Rizzo. “Originally, Chico and Toon are from Blood neighborhoods, and Tapasu and I are from rival Crip neighborhoods. Members of the group have had countless run-ins with the law through gang activities on the streets which eventually landed them occupancy in the State and County Correctional Facilities. It has been through our newfound spiritual purpose that we are able to transcend those cultural divides of the past in the spirit of music that offers hope for the struggle of life. “After a long time of trying to figure out what Priesthood’s future would be,” he adds, “we’re feeling like we’re really doing what we are supposed to in order to make an impact in the life of people. Music is about enjoyment, but even more than that, the rhymes and the words we rap and sing are all about making a mental, emotional and spiritual difference in their lives. Whether our fans are listening to Thug Worship or seeing us at a club or church, we want to leave a mark with music and tracks they’ll listen to and remember.”

• • Adfærdskodeks For Personlig Integritet • •  

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• • Vær i barndommen beskeden, i ungdommen tempereret, i manddommen retfærdig, i alderdommen forsigtig. Lev behageligt, dø ubesværet • •

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Chase Margaretta is following