Today I'm happy, because for the next two days,
we'll be discussing two of my all-time favorite groups. We'll begin with the
Kinks.
The Kinks were a great group, but, more than
anything, it was the group's frontman and main songwriter, Ray Davies, that
gave the band its special quality. An absolutely gifted storyteller, one only
has to listen to his solo live album The Storyteller (1998) to be captured by
this man's magic, even by the way he introduces his songs. Also one shouldn't
forget his incredible sense of humor. However...
... The people who have known him well have quite a
different story. His brother and guitarist Dave Davies says he has
"vampire qualities … it's like having a big sucker on you". His ex
Chrissie Hynde simply calls him "a nut". Larry Page, who managed the
Kinks in two different decades, concludes that "Ray was as big an arsehole
in the 80s as he was in the 60s", while a former bandmate says that he's
so tight he "squeaks when he walks".
It's hardly a shock to learn that artists can be
difficult, but over 40 years the Kinks have left a trail of wrecked hotel
rooms, irate ex-wives and lovers and former bandmates driven to – and indeed over
– the brink of a nervous breakdown. To pick one example from this biography of
the band, on a US tour in 1987, the fractious Davies brothers set aside their
usual differences in order to beat up the sound engineer. While peers such as
Mick Jagger and Paul McCartney live like kings on the proceeds of long,
mega-selling careers, the Kinks always managed to commit harakiri at the most
commercially inopportune moment, despite having in Ray Davies a songwriter as
good as any Pop music has produced, as one listen to Waterloo Sunset will
prove.
Thoughout their career, the band's motto seems to
have been "if it ain't broke, break it". As a look at their history
makes clear, their most dramatic disasters have been self-inflicted. A 1965
Cardiff gig almost ended in decapitation when drummer Mick Avory threw a cymbal
at Dave Davies's head after being informed by the guitarist that "your
drumming's shit – they'd sound better if you played them with your c*ck".
Three years later, Ray's refusal to hand over the sublime album Village Green
Preservation Society to the record company on time ensured that it tanked.
However, let's rewind to the beginning: The Davies
brothers were born in suburban North London on Huntingdon Road, East Finchley,
the youngest and only boys among their family's eight children. Their parents,
Frederick and Annie Davies, moved the family to 6 Denmark Terrace, Fortis
Green, in the neighbouring suburb of Muswell Hill. At home they were immersed
in a world of varied musical styles, from the Music Hall of their parents'
generation to the Jazz and early Rock and Roll that their older sisters
enjoyed. Both Ray and his brother Dave, younger by almost three years, learned
to play guitar, and they played Skiffle and Rock and Roll together.
The brothers attended William Grimshaw Secondary
Modern School, where they formed a band, the Ray Davies Quartet, with Ray's
friend and classmate Pete Quaife and Quaife's friend John Start. Their debut at
a school dance was well received, which encouraged the group to play at local
pubs and bars. The band went through a series of lead vocalists, including Rod
Stewart, another student at William Grimshaw, who performed with the group at
least once in early 1962. He then formed his own group, Rod Stewart and the
Moonrakers, which became a local rival to the Ray Davies Quartet.
In late 1962, Ray Davies left home to study at
Hornsey College of Art. He pursued interests in subjects such as film,
sketching, theatre and music such as Jazz and Blues. After stints at several
groups, playing side by side with musicians such as Charlie Watts, later of The
Rolling Stones, he ended up in a band called the Ravens, whose lineup included
his brother Dave on guitar and his old friend and classmate Pete Quaife on bass
guitar. The fledgling group hired two managers, Grenville Collins and Robert
Wace, and in late 1963 former Pop singer Larry Page became their third manager.
American record producer Shel Talmy began working with the band, and the
Beatles' promoter, Arthur Howes, was retained to schedule the Ravens' live
shows.
The group unsuccessfully auditioned for various
record labels until early 1964, when Talmy secured them a contract with Pye
Records. During this period they had acquired a new drummer, Mickey Willet;
however, Willet left the band shortly before they signed to Pye. The Ravens
invited Mick Avory to replace him after seeing an advertisement Avory had
placed in Melody Maker. Avory had a background in Jazz drumming and had played
one gig with the fledgling Rolling Stones.
Around this period, the Ravens decided on a new,
permanent name: the Kinks. Numerous explanations of the name's genesis have
been offered. In Jon Savage's analysis, they "needed a gimmick, some edge
to get them attention. Here it was: 'Kinkiness'—something newsy, naughty but
just on the borderline of acceptability. In adopting the 'Kinks' as their name
at that time, they were participating in a time-honoured Pop ritual—fame
through outrage."
Ray Davies recalled that the name was coined by
Larry Page, and referenced their "kinky" fashion sense. Davies quoted
him as saying, "The way you look, and the clothes you wear, you ought to
be called the Kinks." "I've never really liked the name", Ray
stated.
The band's first single was a cover of the Little
Richard song Long Tall Sally. Bobby Graham, a friend of the band, was recruited
to play drums on the recording. He would continue to occasionally substitute
for Avory in the studio and play on several of the Kinks' early singles,
including the early hits You Really Got Me, All Day and All of the Night and
Tired of Waiting For You. Long Tall Sally was released in February 1964, but
despite the publicity efforts of the band's managers, the single was almost
completely ignored. When their second single, You Still Want Me, failed to
chart, Pye Records threatened to annul the group's contract unless their third
single was successful.
You Really Got Me, a Ray Davies song, influenced by
American Blues and the Kingsmen's version of Louie Louie, was recorded on 15
June 1964 at Pye studios with a slower and more produced feel than the final
single. Ray Davies wanted to rerecord the song with a lean, raw sound, but Pye
refused to fund another session; Davies took an adamant stand, so the producer,
Shel Talmy, broke the stalemate by under-writing the session himself. The band
used an independent studio, IBC, and went in on 15 July, getting it done in two
takes. The single was released on August 1964, and, supported by a performance
on the television show Ready Steady Go! and extensive pirate radio coverage, it
entered the UK charts on 15 August, reaching #1 on 19 September. Hastily
imported by the American label Reprise Records, it also made #7 in the United
States. The loud, distorted guitar riff and solo on You Really Got Me was
played by Dave Davies and achieved by a slice Dave Davies made in the speaker
cone of his Elpico amplifier (referred to by the band as the "little green
amp")— helped with the song's signature, gritty guitar sound. You Really
Got Me has been described as "a blueprint song in the Hard Rock and Heavy
Metal arsenal", and as an influence on the approach of some American Garage
Rock bands. 2 minutes and 14 seconds of Rock 'N' Roll Heaven.
Their follow-up, All Day And All Of The Night made
#2 in the UK and #7 in the US. It was also a great single, the only negative
thing about it was that it was a little too similar to You Really Got Me.
They needn't have worried: Their next single was a
melodic departure: the lament of a guy who, as the title says, is Tired Of
Waiting For You. The single made #1 in the UK, #3 in Canada and Ireland, and #6
in the US.
Set
Me Free was another successful attempt at a softer, more introspective sound.
It peaked at #2 in Canada, #9 in the UK, #12 in the Netherlands and #23 in the
US.
See
My Friends was released in 1965 and reached #10 on the UK Singles Chart, but
flopped in the US. A rare foray into Psychedelic Rock for the group, it is credited
by Jonathan Bellman as the first Western Rock song to integrate Indian raga
sounds, being released four months before the Beatles' Norwegian Wood (This
Bird Has Flown).
Ray
Davies has been heard to say the song is about the death of his older sister,
Rene, who lived for a time in Ontario, Canada. Upon her return to England she
fell ill due to an undiagnosed hole in her heart and died while dancing at a
night club. Just before she died, he has said, she gave him his first guitar
for his 13th birthday.
Inspiration
for the song came from a stopover in Bombay during The Kinks' 1965 Asian tour,
where the jetlagged Davies encountered fishermen chanting on their way to their
morning work. He also incorporated into the song the significance of the Ganges
river in the Indian death ritual. (The lyric "See my friends layin'
'cross the river" as a metaphor for death).
Ray
Davies, at the time of the song's release, expressed disappointment toward the
single's lukewarm reception, saying "[It's] the only one I've really
liked, and they're not buying it. You know, I put everything I've got into it
... I can't even remember what the last one was called - nothing. It makes me
think they must be morons or something. Look, I'm not a great singer, nor a
great writer, not a great musician. But I do give everything I have ... and I did for this disc."
The
Kinks familiar brand of biting, yet funny social commentary began with A Well
Respected Man. Davies composed the song based on a negative experience with
upper class guests at a luxury resort where he was staying in 1965. He crafted
the song to mock what he perceived as their condescension and
self-satisfaction. It was released as a single in the United States during
October of that same year and reached #13.
Till
the End of the Day was a return to the raunchier sound of their first hits. It
peaked at #6 in the Netherlands and at #8 in the UK.
Dedicated
Follower of Fashion, the first single in 1966, was a return to social
commentary songs. Uproarously funny, it lampoons the contemporary British
fashion scene and mod culture in general. It peaked at #1 in the Netherlands
and New Zealand, at #4 in the UK, at #11 in Canada, and at #36 in the US and
Australia.
1966
and 1967 were the years that the Kinks reached their creative apex: after Dedicated
Follower of Fashion came Sunny Afternoon. Like its contemporary Taxman by The
Beatles, the song references the high levels of progressive tax taken by the
British Labour government of Harold Wilson, even though Davies' approach is
gentler than that of Harrison. Its strong music hall flavour and lyrical focus was
part of a stylistic departure for the band (begun with 1965's A Well Respected
Man).
Davies
said of the song's lyrics, "The only way I could interpret how I felt was
through a dusty, fallen aristocrat who had come from old money as opposed to
the wealth I had created for myself." In order to prevent the listener
from sympathizing with the song's protagonist, Davies said, "I turned him
into a scoundrel who fought with his girlfriend after a night of drunkenness
and cruelty."
The
song was a big hit for the Kinks: #1 in the UK, Canada, Ireland, and the
Netherlands, #2 in New Zealand, #7 in Germany, #13 in Australia and #14 in the
US.
Dandy, another
great song, was a hit in Continental Europe, reaching #1 in Germany, #2 in
Belgium and #3 in the Netherlands.
Dandy became a
hit single in North America in 1966 as recorded by fellow UK group Herman's
Hermits in that same time frame, reaching #1 in Canada and #5 in the US. It
also made #3 in New Zealand. This version was not released as a single in the
UK.
Dead End Street
deals with the poverty and misery found in the lower classes of English
society. The song was a big success in the UK, reaching #5 on the singles
charts, but only reached #73 in the United States.
Mister Pleasant
satirizes the heedless complacency of a nouveau riche who, for all his
newfound worldly success, is but a foolish cuckold. Musically, the song has
strong English Music Hall influences and a "Trad Jazz" backing that
features a trombone and ragtime-style piano (played by Nicky Hopkins).
Due to the
Kinks' absence from American touring and the single's noncommercial sound,
Mister Pleasant did not fare well in the US, only managing a peak of #80 -
their poorest showing since See My Friends failed to reach the Hot 100 in 1965
- despite being tapped as likely Top 20 material by Billboard magazine. Mr.
Pleasant was much more successful in Europe, particularly the Netherlands
(where it reached #2) and Belgium (#3).
Their first
single for 1967 was perhaps their best: Waterloo Sunset belongs up there with
Penny Lane and Strawberry Fields Forever as the three most effective lyrical
evocations of the British landscape in Pop song.
The song was
rumoured to have been inspired by the romance between two British celebrities
of the time, actors Terence Stamp and Julie Christie, stars of 1967's Far from
the Madding Crowd. Ray Davies denied this in his autobiography and claimed in a
2008 interview, "It was a fantasy about my sister going off with her
boyfriend to a new world and they were going to emigrate and go to another
country." In a 2010 interview with Kinks biographer Nick Hasted, he said
Terry was his nephew Terry Davies, "who he was perhaps closer to than his
real brother in early adolescence." Despite its complex arrangement, the
sessions for "Waterloo Sunset" lasted a mere ten hours; Dave Davies
later commented on the recording: "We spent a lot of time trying to get a
different guitar sound, to get a more unique feel for the record. In the end we
used a tape-delay echo, but it sounded new because nobody had done it since the
1950s.
The song was a
big hit for the Kinks, peaking at #1 in the Netherlands, #2 in the UK, #4 in
Australia, and #7 in Germany and New Zealand.
Death of a
Clown was one of the few Kinks' songs to be co-written by brother Dave, who
also sings lead vocals. A #2 hit in the Netherlands, #3 in the UK and Germany.
Autumn Almanac followed
suite. It has since been noted for being an "absolute classic",
"a finely observed slice of English custom", a "weird character
study" and for its "mellow, melodic sound that was to characterize
the Kinks' next [musical] phase..." Some have placed this and other Davies
compositions in the pastoral-Romantic tradition of the poetry of Wordsworth, among
others. A #3 hit in the UK and #5 Germany.
Their next
single was a song by brother Dave Davies. Davies was expelled from school at
the age of fifteen after being caught having intercourse with his girlfriend,
Sue Sheehan, on Hampstead Heath. Shortly thereafter, they were forced to
separate by their respective families after Sue found out she was pregnant.
Their relationship had a profound impact on Davies, who wrote a number of songs
about their separation. One of them was Suzannah's Still Alive (#10 in the
Netherlands, #20 in the UK). Dave did not meet their daughter, Tracey, until
1993.
Dave Davies
published an autobiography, entitled Kink, in 1996, in which he discussed a
brief period of bisexuality in the late 1960s, which included a brief
relationship with Long John Baldry and music producer Michael Aldred. He also
wrote of the tense professional relationship with his brother over the Kinks'
30-year career.
Their best
single in 1968 was Days. The song was an important single for Davies and the
Kinks, coming in a year of declining commercial fortunes for the band. It had
been intended as an album track but after the relative failure of the previous
single Wonderboy (which only reached #36 in the UK), Days was rushed out as a
single. It reached #12 on the UK chart, but failed to chart in the US.
1969 came and
went without big hits, but not without good songs. Shangri-La was one of those:
Victoria was
another:
They returned
in a grand style with their first single in the 70s, which is also of
particular significance to us. Lola details a romantic encounter between a
naive young man and a transvestite named Lola. The story is expertly told, with
gradual reveals that climax with the triumphant "Well I'm not the world's
most masculine man,/But I know what I am and I'm glad I'm a man,/And so is
Lola."
For a 1970
song, it was way ahead of its time: there was no hate or resentment, no drama
or tragedy, just a glorious celebration of the power of love and lust.
The addictive
guitar riff, the chorus of "lo lo lo lo Lola" and the ingenius lyrics
made sure the song became a big hit, even though it received backlash and even
bans in Britain and Australia, due to its controversial subject matter and use
of the brand name Coca-Cola. The British version of the song was obligated to
use the phrase "cherry cola" instead of "Coca-Cola", which
was used in the US version. Peaking at #1 in the Netherlands and New Zealand,
#2 in the UK, Germany and Canada, #4 in Australia and #9 in the US, it has
since become one of The Kinks' most iconic and popular songs, later being
ranked number 422 on "Rolling Stone's 500 Greatest Songs of All Time"
as well as number 473 on the "NME's 500 Greatest Songs Of All Time"
list.
Their
follow-up, Apeman, was also a big hit, but not in the US (#45). It peaked at #5
in the UK, Australia and New Zealand, #8 in Germany, #9 in the Netherlands and
#19 in Canada.
The Kinks only
seemed to feel at home on a sinking ship. After Lola returned them to the
charts in the early 70s after a series of flops, and it was followed by another
hit, Apeman, the Davies brothers were positively displeased to find themselves
back on Top of the Pops. "It did have that smell of: 'Oh blimey, not that
again,'" Dave Davies said. Happily, several catastrophes were around the
corner, though the Kinks did become huge in America in the 70s and 80s,
something often overlooked by British fans, who always associate them with
their 60s run of era-defining singles, from You Really Got Me to Days.
Celluloid
Heroes wasn't a hit in 1972, but it's one of the Kinks classics. At the time of
its release, the song was one of the longest for the band, peaking at six
minutes, while most of Davies' songs had rarely surpassed four minutes. The song
was a standard in their concert playlists until they disbanded in 1996;
appearing on the band's live album One for the Road (1980). This live version
featured a lengthy instrumental intro, a rare occurrence in the Kinks
commercial canon. The song continues to be featured in Ray Davies' solo shows,
and was chosen to be re-recorded for the 2009 album The Kinks Choral
Collection.
In 1973, Ray
Davies dived headlong into the theatrical style, beginning with the Rock Opera "Preservation",
a sprawling chronicle of social revolution, and a more ambitious outgrowth of
the earlier Village Green Preservation Society ethos. In conjunction with the
Preservation project, the Kinks' line-up was expanded to include a horn section
and female backup singers, essentially reconfiguring the group as a theatrical
troupe.
Ray Davies'
marital problems during this period began to affect the band adversely,
particularly after his wife, Rasa, took their children and left him in June 1973.
Davies became depressed; during a July gig at White City Stadium he told the
audience he was "f*cking sick of the whole thing", and was retiring.
He subsequently collapsed after a drug overdose and was taken to hospital. With
Ray Davies in a seemingly critical condition, plans were discussed for Dave to
continue as frontman in a worst-case scenario. Ray recovered from his illness
as well as his depression, but throughout the remainder of the Kinks'
theatrical incarnation the band's output remained uneven, and their already
fading popularity declined even more. John Dalton (Pete Quaife's replacement since
1969) later
commented that when Davies "decided to work again ... I don't think he was
totally better, and he's been a different person ever since."
After a number
of unsuccessful releases, and
following the termination of their contract with RCA, the Kinks signed with
Arista Records in 1976. With the encouragement of Arista's management they
stripped back down to a five-man core group and were reborn as an Arena Rock band.
John Dalton
left the band before finishing the sessions for the debut Arista album. Andy
Pyle was brought in to complete the sessions and to play on the subsequent
tour. Sleepwalker, released in 1977, marked a return to success for the group
as it peaked at number 21 on the Billboard chart. On the Outside, recorded for Sleepwalker,
but only released later as a bonus track on the CD version of the album, was
the Kinks second song with LGBT content, encouraging a closet queen to step out
of the closet. Some of the lyrics:
You think
you're a freak
And you're
afraid to compete
In a world that
you think's got it down on you
You're a closet
queen
You think it's
obscene
To let the
people see what's deep inside of you
I know what
you're going through
But what you
are is nothing new
So don't feel
ashamed
'Cos you're not
to blame
Role up the
blinds and let the sun come shining through
Hey baby blue
Don't hide your
troubles inside
You should be
glad in the gay
Nobody cares
anyway on the outside
After the
release of Sleepwalker and the recording of the follow-up, Misfits, Andy Pyle
and keyboardist John Gosling left the group to work together on a separate
project. Dalton returned to complete the tour and ex–Pretty Things keyboardist
Gordon John Edwards joined the band. In May 1978, Misfits, the Kinks' second
Arista album, was released. It included the US Top 40 hit A Rock 'n' Roll
Fantasy (#30 US and Canada), which helped make the record another success for the
band.
A Rock 'n' Roll
Fantasy is a beautiful song and deserved an even bigger success. Still, it kept
the Kinks commercially alive.
From the same
album comes a third song of LGBT interest by the Kinks. Out of the Wardrobe is
about a married man who is a closet transvestite. Here is how the song starts:
Has anybody
here seen a chick called Dick
He looks real
burly but he's really hip
He's six feet
tall and his arms are all brown and hairy
He married
Betty Lou back in '65 when you had to be butch to survive
But lately he's
been looking at his wife with mixed emotions
You see, he's
not a common place closet queen
He shouldn't be
hidden, he should be seen
'Cos when he
puts on that dress he looks like a princess
And this is the
final verse:
He's out of the
wardrobe and he's feeling alright
He's out of the
wardrobe and he's feeling satisfied
Now it's
farewell to the past
The secret's
out at last
He's out of the
wardrobe and now he's got no regrets
The album Give
the People What They Want was released in late 1981 and reached number 15 in
the US. The record attained gold status and featured the UK hit single of sorts
(#46) Better Things:
In spring 1983,
the song Come Dancing became their biggest American hit since Tired of Waiting
for You, peaking at #6. It also became the group's first Top 20 hit in the UK
since 1972, peaking at #12 in the charts. The accompanying album, State of
Confusion, was another commercial success, reaching #12 in the US, but, like
all of the group's albums since 1967, it failed to chart in the UK.
Come Dancing
was a true return to form for the Kinks. It wasn't unlike things that Paul
Simon would do later in the 80s. It also was an obvious inspiration for the
Talking Heads' late 80s works.
The follow up, Don't
Forget to Dance, was as good and also a sizeable hit. (#20 in Canada and #29 in
the US.)
During the
second half of 1983, Ray Davies started work on an ambitious solo film project.
The film gave actor Tim Roth a
significant early role. Davies'
commitment to writing, directing and scoring the new work caused tension in his
relationship with his brother. Another problem was the stormy end of the
relationship between Ray Davies and Chrissie Hynde. The old feud between Dave
Davies and drummer Mick Avory also re-ignited. Davies eventually refused to
work with Avory, and called for him to be replaced by Bob Henrit, former
drummer of Argent. Avory left the band, and Henrit was brought in to take his
place. Ray Davies, who was still on amiable terms with Avory, invited him to
manage Konk Studios. Avory accepted, and continued to serve as a producer and
occasional contributor on later Kinks albums.
Meanwhile, the
band had begun work on Word of Mouth, their final Arista album, released in
November 1984. As a result it includes Avory on three tracks, with Henrit and a
drum machine on the rest. Word of Mouth's lead track, Do It Again, was released
as a single in April 1985. It reached #41 in the US, the band's last entry into
the Billboard Hot 100.
The Kinks gave
their last public performance in mid-1996, and the group assembled for what
would turn out to be their last time together at a party for Dave's 50th
birthday. Kinks chronicler and historian Doug Hinman stated, "The
symbolism of the event was impossible to overlook. The party was held at the
site of the brothers' very first musical endeavour, the Clissold Arms pub,
across the street from their childhood home on Fortis Green in North
London."
US Rock critic Greil Marcus, in his landmark book Mystery
Train, discusses only five acts that he felt were special in that they were
hugely important in the history of Rock, yet not easily classifiable, if at
all. They were also absolutely original. These acts were Elvis Presley (the Sun
years), The Band, Sly & The Family Stone, Randy Newman and the Kinks. He's
got a point.
The Kinks were tied with the Stones and the Who as my favorite British Invasion group after the Beatles (the Zombies were number five). Thanks for the trip down memory lane, yianang! I love all these songs, but here are a few personal favorites you may not have had room for on your list:
ReplyDelete"Who'll Be the Next in Line" (and that goes double for the Francoise Hardy cover)
https://www.youtube.com/watch?v=Y3kNuSUQcdE
"Where Have All the Good Times Gone" (and that includes the David Bowie and Van Halen covers)
https://www.youtube.com/watch?v=0v34aT2jQb0
"Scrapheap City" (with Maryann Price on vocals)
https://www.youtube.com/watch?v=ofMw7dqP39I
"Art Lover" (Nabokovian kinkiness refined)
https://www.youtube.com/watch?v=dAfxWV4eCiM
"Destroyer" (rock 'n' roll therapy?)
https://www.youtube.com/watch?v=_WJ6FbcWYRU
The Kinks were tied with the Stones and the Who as my favorite British Invasion group after the Beatles for me as well. I'm not sure about #5 though. Sometimes it's The Animals, sometimes it's The Hollies, sometimes it's The Yardbirds. I really love The Zombies too, especially their magnificent album Odessey & Oracle. Their output was so limited though - and their hit singles even less... Which is a terrible shame.
DeleteI was planning to do the Who this evening, but then I realized that it's the weekend, so I'll probably do the Oscars today, Dylan & the Statistics tomorrow and The Who after that. We'll see.
All of the Kinks songs that you mentioned are loved ones, but, as you correctly surmised, there was no room for them. There were just so many! To put it in perspective, my daily entry is usually 700-1500 words. This was over 4500 words.
If I may add some more Kinks songs, here are a few titles: Stop Your Sobbing, David Watts, Plastic Man, Supersonic Rocket Ship, Picture Book, To The Bone, definitely I'm Not Like Everybody Else, Do You Remember Walter... I stop here, but there are more.
Have a great weekend!
Eric Burdon is quite possibly my favorite male British singer of the '60s, although John and Paul are my sentimental favorites. But the Animals are a bit problematic. The line-up kept changing, and, when Alan Price left, it was an entirely different group. But the hits kept coming, and the one thing they had in common was Burdon.
DeleteAll these had musicians who survived beyond the lifespan of their groups. Burdon is still singing today, he may not be especially relevant still, but he'd carved a long and often interesting career for himself. Price also did well, at least until the mid 70s. Even Chandler, he turned out to be a good manager, after all he discovered Jimi Hendrix and Slade.
DeleteThe Hollies had Nash, Clarke and Hicks, the Yardbirds had Clapton, Beck and Page (consecutively) and the Zombies had Blunstone and Argent. Great musicians, all of them. While other bands of the British invasion, like Freddie & The Dreamers, Billy J. Kramer & The Dakotas, etc, were more of a passing thing.
A quick comment as it's been a hard day's night and I've definitely been workin' like a dog. Your post today is quite long and I'd rather be fresh of mind when I read it instead of dog tired like I currently am. I liked seeing all the British bands you and ahfi mentioned. Love every one of them and would like to add a couple more - Herman's Hermits and Gerry & The Pacemakers. Nowhere near as important as some of the others but immensely enjoyable none the less. Good night all.
ReplyDeleteYou go to sleep my friend and read the story during the weekend, when you'll be all relaxed and rested. Herman's Hermits and Gerry & The Pacemakers were the best groups of those that didn't make the transition to Rock or to more complicated Pop. Both lead singers (Marsden & Noone) were very good and they originally had good choice of material. If they managed to make the switch around 1965-67 they would have survived much longer. (Herman's Hermits did survive till the early 70s, but by that time it was considered more of a "mums' group").
DeleteA few bands that included artists who progressed successfully through the 70s in other bands or solo were The Small Faces (The Faces, Humble Pie), The Spencer Davies Group (Traffic, Blind Faith, Stevie Winwood), Manfred Mann (Manfred Mann's Earth Band, Paul Jones) and the Move (ELO, Wizzard).
Hearing the Kinks in 1964 was a blast of grungy fresh air not unlike, as you pointed out, Louie Louie from the year before. My favorite from this period though, was Tired Of Waiting For You which showcased the band's softer side. Funny that the hard rockers were basically love songs but when they tackled social and political themes, they sounded like jaunty, dancehall numbers - AWRM & DFOF. The early songs were also marked by a muddy sound that only added to the general air of grunginess. Waterloo Sunset, arguably their masterpiece, sounds better by comparison probably because it's more Beatlesque in delivery. My favorite Kinks song though, is probably Victoria. I love this chugging rocker and especially dig the line "I was born, lucky me, in a land that I love." Don't know why, it just tickles my fancy. I only listened to the band sporadically after the early 70s but most of the songs you presented have charms I had forgotten over time so thanks for the re-mind.
ReplyDeleteI have a small gay Kinks related story but cannot definitely guarantee the veracity since it was merely told to me so I have no first hand knowledge. About 25 years ago I worked with an older woman who claimed to have attended an orgy in the late 60s involving several rock stars and she specifically mentioned the Kinks. There was every permutation of sex going on, homosexual included and Davies was one of the participants in the latter. Hmmm...
RM, I loved your comment that the Kinks' "hard rockers were basically love songs but when they tackled social and political themes, they sounded like jaunty, dancehall numbers." Which is absolutely true. They're never more serious than when they're at their most flippant, and when they just want to have fun, they get more "heavy". One artist I can think off who had similar behavior was Randy Newman.
DeleteAlso a great comment on the "muddy sound that only added to the general air of grunginess." It was most probably a result of their "little green amp".
Both Tired Of Waiting For You and Victoria are among my favorites (there are so many of them!) But my Top 3 would be Waterloo Sunset, You Really Got Me, and Lola.
As for the orgy, it is possible; after all it wasn't an usual occurrence in the 60s and 70s... We were just discussing with partner what that f*cking "big disease with the little name" did to us all; the friends we lost, the fear it instilled in us and the subsequent change of lifestyle it made necessary... I'll stop now, before I make us all sad.