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Calling all Kinks

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Showing 51-75 of 1000 posts in this discussion
Posted on Jun 1, 2011, 7:47:50 PM PDT
M.R. says:
Jim Rodford is best known for being the bass player in Argent ie; Hold Your Head Up.

Posted on Jun 1, 2011, 11:13:52 PM PDT
Bernard J. says:
Jim Rodford is a cousin to Rod Argent.
He's played in a few gigs with The Kast-Off Kinks and appears in a DVD I have, "The Zombies Live at the Bloomsbury Theatre", with his son Steve, on drums. Argent and Bluntstone were the only original Zombies present at this gig.

I guess if a Kinks reunion ever went ahead, he would probably be there, but I don't think this is likely to happen, and I have doubts about Mick Avory ever being available either. Him and Dave couldn't be in the same room together.

In reply to an earlier post on Jun 2, 2011, 12:02:13 AM PDT
Hinch says:
I never knew that. I knew of him first as bass player for The Kinks.

In reply to an earlier post on Jun 2, 2011, 12:09:05 AM PDT
Bernard J. says:
He also appears on The Argent/ Zombies out takes album "In the Afterlife"

Posted on Jun 2, 2011, 8:33:33 AM PDT
MiBoDoCa says:
The below article is worth a read for all Kinks fans.

The Charting Saga of "A Well Respected Man": An UnderRanked, Under-Rated Kinks' Classic.

Posted on Jun 2, 2011, 5:04:17 PM PDT
Last edited by the author on Jun 2, 2011, 5:06:26 PM PDT
Juba Kazoo says:
M.R.says: Bernard's right on the money about Rodford and the Dave, Mick feud, that I remember climaxed with Avory bashing Dave over the head with a cymbal and knocking him out cold at a gig....

In reply to an earlier post on Jun 3, 2011, 12:13:44 AM PDT
Last edited by the author on Jun 3, 2011, 12:15:56 AM PDT
Bernard J. says:
The famous stage fight between Dave and Mick happened in 1965.
However, they kept feuding continuously over the years.
In the 80's , things were so bad between them, Ray asked Mick to leave the group. This was in 1984.
It was impossible for Dave and Mick to play in the same band.

Posted on Jun 3, 2011, 1:37:44 AM PDT
Last edited by the author on Jun 3, 2011, 1:39:39 AM PDT
Hinch says:
Has anyone read either of these books, and are they worth reading?

I'd like to read a good one about The Kinks.

Kink: An Autobiography by Dave Davies

X-Ray: The Unauthorized Autobiography by Ray Davies

In reply to an earlier post on Jun 3, 2011, 4:00:36 AM PDT
Last edited by the author on Jun 3, 2011, 4:14:19 AM PDT
Bernard J. says:
I have both books, both good.

For a day by day account of the Kinks, you can't beat:

"The Kinks
All Day and All of the Night ".
By Doug Hinman

"Day by day concerts, recordings and broadcasts, 1961-1996".

This book is invaluable for Kink fans.

Check it out on Amazon , saw some copies going for $15

Also good:

"The Kinks: The Official Biography" by Jon Savage (1984)
"The Kinks: Well Respected Men" by Neville Marten and Jeffrey Hudson (1996)

Posted on Jun 3, 2011, 5:41:21 AM PDT
I felt sorry for Mick Avory - getting up every morning knowing there was a chance that Dave would be on your case about something. Dave struck me as the sort of man who thrived on the adrenaline of confrontation whether with Mick OR his brother. He could start a fight in an empty room, that one. The aftermath of the famous 'cymbal' incident did make me giggle, though - rather than face the music Mick panicked and did a runner because he thought he actually may have killed Dave and that the police would be after him. He was eventually found skulking at Cardiff Railway Station where presumably he was going to spend the night before catching the morning train to London after which he would await events. Bearing things like this in mind it's surely a miracle that the two men managed to spend 20 or so years together in the same group. You can understand why Pete Quaife felt it necessary to leave even though he hardly had better career options.

People talk about The Who being possibly the most ill-tempered British band in rock history but once Roger Daltrey started to chill out the punch-ups were relatively few and far between from about 1966 onwards (or, as John Enwistle succinctly put it, 'the fights didn't last long, really - one or two punches from Daltrey and it was usually all over...'). With The Kinks you got the impression things could kick off at any time over a period of 20 years, usually over something trivial. IF The Kinks reformed physical infirmity and being of pensionable age would make NO difference - Mick Avery and Dave Davies continue to be implacable adversaries and sadly that's all there is to it.

Posted on Jun 3, 2011, 8:36:29 AM PDT
Last edited by the author on Jun 3, 2011, 12:43:32 PM PDT
Maclen says:
Jesus, 3 pages of comments about the new releases. And NO ONE and I mean NO ONE bothers to comment about whether the SOUND has been improved. Are you guys serious about the music or is it all about the packaging and photos? Anybody? No offense meant to anyone with my comments, I'm just interested in the SOUND and am wondering does anyone know about the REMASTERED sound?

In reply to an earlier post on Jun 3, 2011, 5:56:25 PM PDT
Hinch says:

In reply to an earlier post on Jun 3, 2011, 7:44:02 PM PDT
Last edited by the author on Jun 3, 2011, 7:44:40 PM PDT
tmoore says:
I didn't know that wondering about the song selection had anything to do with the packaging and photos. I would say that was being serious about the music. No big deal --- I don't mean any offense either.

In reply to an earlier post on Jun 3, 2011, 8:08:22 PM PDT
Hinch says:
I think he was talking about sound improvement not song selection.

Posted on Jun 4, 2011, 6:31:32 AM PDT
From what I have heard, no there is no improvement in the sound from the 1990s Castle releases (which sound first-rate anyway).

In reply to an earlier post on Jun 5, 2011, 6:38:48 PM PDT
Last edited by the author on Jun 28, 2011, 5:17:31 PM PDT
DavRay says:
@F. Hincholson,

Not surprisingly, a very catchy title. But for the book, not so much - IMO.

Posted on Jun 8, 2011, 10:10:42 AM PDT
EvenSteven says:
(consumer sucker, yours truly)
I did spring for 2 deluxe sets over the weekend (Kinda & Kontroversy).
The sound is very good & I belive all trax are in dead center mono & very good mastering. It would appear that Andrew Sandoval sought out the prime source tapes to do the transfer & the result is pleasing to my ears.
Mind you, my previous copies I had were very lame stereo versions on LP (especially Kinda which was issued on Marble Arch & may not even be in true stereo).
The sets have have pretty good session details, lots cool pix & the bonus trax are also nicely mastered. Its nice to hear the "great lost" stuff finally getting it's due & of course Rays Demos for Pye sound clear & punchy without being over compressed.
The sound is great. I will probobly update my copy of Face to Face & Something Else & be done with it. I already have the "correct" mono mixes of 1st & "Size" plus my boots of great lost & will not need to "update".....who knows, by xmass, the price may be reduced....the damn sets are 25.00 & tx....arrgh!...happy hunting to all.

Posted on Jun 23, 2011, 9:05:02 AM PDT
MiBoDoCa says:
Ray Davies finds paradise beneath a Waterloo Sunset

"The Kinks are the Village Green Preservation Society" performed at South Bank

Philip Clark 11:55am GMT 21st June 2011

People Take Pictures of Each Other - and of Ray Davies

As I change tube trains at Kings Cross en route to the Festival Hall, a poster advertising orchestral Dire Straits floats past me, and it's difficult to stifle a smile. Why are rock musicians drawn to work with orchestras when, let's be honest, the success rate of such projects bottoms out somewhere below the Sinclair C5?

But there are rock musicians and then there's Ray Davies, whose concert on Sunday night with the London Philharmonic Orchestra and Crouch End Festival Chorus ended this year's Meltdown festival with an atmosphere approaching a revivalist meeting. Davies, with brother Dave Davies, formed a band called The Ravens in 1962, which played the circuit around their local neighbourhood in Muswell Hill, until they were signed to Pye Records in 1964 and rebranded The Kinks.

And The Kinks were always a bit different, a bit aloof. When The Kinks are the Village Green Preservation Society was released in November 1968 the record got starved of publicity by that year's other must-have listens: The Beatles' White Album, Jimi Hendrix's Electric Ladyland, Janis Joplin's Cheap Thrills and The Rolling Stone's Beggars Banquet. Pop now meant psychedelia, pot and protest. But The Kinks? Their new album positioned itself in calculated opposition to the party line. As The Stones' Mick Jagger and Keith Richards found art meeting life by getting busted for drugs, the title track of Village Green Preservation Society invoked an idealised England that, if it ever did exist, was a world of simpler pleasures. A lyric like `Twas there I met a girl called Daisy
/And kissed her by the old oak tree is so brutally archetypical of finger-in-the-ear folk singing that it sounds brutally mint-fresh dropped inside a pop album, an album more Tony than Herbie Hancock, more Harold than Brian Wilson, an album haunted by Sherlock Holmes, Desperate Dan, strawberry jam, custard pies, cats, old acquaintance not forgot and dewy-eyed emotions stirred by family photos.

But that Davies decided to frame this vision of Albion as a pop album, during the late sixties still an evolving form, shows The Kinks were looking two ways at once: pop is of the moment and Davies knew there was no point in waiting for nostalgia to make a comeback. The Kinks are the Village Green Preservation Society was entirely a product of its time, and like great art must, plundered past histories to explain the present and ask - what next? Its core message is best explained by these lines taken from the title track: Preserving the old ways from being abused
/Protecting the new ways for me and for you/What more can we do.

After it bombed in the charts, The Kinks cherry-picked a few numbers for their live shows - "The Village Green Preservation Society", "Johnny Thunder", "Picture Book" - and the album marinated while no one was listening until, suddenly, everybody was listening and recognising it as cult intelligentsia pop. Until Sunday evening Village Green had never been played live in its entirety, but was it a good idea to bolster Davies' vision with orchestra and choir? That's a complex question, but the compositional integrity, and ingenuity, of Davies' material - his ruminative song structures, his keen awareness of timbral colour and trademark chromatic slithers - lend themselves more than most.

Arranger/orchestrator Simon Hale's task was to erect a new orchestral thatch, but without trampling over our halcyon memories of the essential Village Green experience - his orchestration needed to be heard and felt, but also be incidental, discreet and not heard; no one wanted Village Green: The Musical. Only during "Last Of The Steam-Powered Trains", which trashes Davies' rural idyll with raw-boned electric blues, did I wish his band had been given space to stretch, to play. Otherwise Hale's strategy of allowing the original album's nascent orchestration - hints of folksy double-reeds, the jingle-jangle of harpsichords and massed flutes - to blossom was a masterful piece of compositional keyhole surgery, sensitively carried out.

Making studio albums work effectively in a concert hall is a perennial problem. The recording studio is, by definition, a contrived and artificial sound environment. Those busy, static-filled silences (on vinyl) between tracks are not equivalent to the warm ambience of a concert hall; they are simply a way of demarcating one track from another, like a frame that tells you where the wall stops and the painting begins. Making an album work live requires a rethink of its emotional trajectory and form. To mould Village Green into a live experience "The Village Green Preservation Society" was flipped from its position as the opening title track to the end, where it became a cathartic point of arrival; Hale's instrumental linking passages were an unnecessary trimming; simply segueing between numbers proved a better way of keeping the impetus on a roll.

After the interval, Davies dipped into his matchless back catalogue of Kinks hits and solo material. The raw carnal desire of "You Really Got Me" roared past the choral and orchestral setting - it's Ray's voice that counts and he still sings it like a randy teenager. And how much the evening meant to Davies personally became clear as he broke the fourth wall of "Waterloo Sunset", telling us "me too", as he sang the line about Terry and Julie "being in paradise".

The Kinks are the Village Green Preservation Society, circa 1968, ended with "People Take Pictures of Each Other" and four decades on Davies encouraged us to take a souvenir snap with our smart-phones mid-song. Mine's above. Ray's the white blur standing centre-stage.

Philip Clark

Posted on Jun 24, 2011, 4:35:44 PM PDT
MiBoDoCa says:
Ray Davies: Genius
Written by markbraund on Jun-23-11 12:55pm
What a privilege it was to be at the Royal Festival Hall last evening for what must have been the gig of the year, if not the decade. I may have to revise this statement in the days and weeks to come, but it surpassed even the sublime Leonard Cohen at the O2 in 2008, a concert about which I went on at length, here.

Alexis Petridis had everything right in his review for The Guardian, but he didn't give much of a sense of what it was like to be there. I can't remember such an atmosphere at the RFH, and I must have been a hundred times over the years: Baba Maal at his peak, even the great Ray Charles didn't set the place alight like the ex-Kinks man did last night.

To combine a rock band, the London Philharmonic Orchestra and a 92-voice choir - the exceptional Crouch End Festival Chorus - and produce something greater than the sum of the parts was a remarkable achievement. And to be able to play so many of the best songs from the last fifty years, and still have the likes of Waterloo Sunset, You really got me, Sunny Afternoon and Lola in reserve for a glorious multi-encore just goes to show what a great songwriter Davies is.

It'll remain with me for a very long time, not least because the first half was given over to the first ever complete live rendition of the Kinks' 1968 classic The Kinks are the Village Green Preservation Society. Simply superb.

As long as they gaze on the Waterloo sunset, they are in paradise. Four thousand delirious souls were in paradise last night, as the sun set over Waterloo.

There's not much on Youtube yet - no doubt because most of those present were far too old to own a camcorder, or know how to operate the equivalent iPhone app - but there is this: Days indeed!

Posted on Jun 28, 2011, 1:26:43 PM PDT
MiBoDoCa says:
Review: The Kinks - Face to Face (Deluxe Edition)

1966 and all that, what? Revolver, Pet Sounds, a Russian linesman: all fully deserving of the `landmark' status they've since been afforded, but what of Face to Face?

The lingering under-appreciation of The Kinks is such that Ray Davies can now enjoy a quiet drink in his local without many of his fellow punters realising that they are in the presence of a songwriter every bit the equal of Messrs Lennon, McCartney and Wilson (although he's a poor second to Sir Geoff Hurst in the centre-forward stakes). This was certainly the case when this writer came across him in a north-London pub and bought his whole table a drink while spluttering something about `Big Sky' being the best song ever.

"Who was that you were talking to?" a stranger asked me outside. "Ray Davies!" I replied, still buzzing with excitement at meeting my hero, albeit briefly. "Ah..." said the stranger, "...who?"

"You met Craig David?" replied at least one of the friends I told of this meeting, the majority of those polled requiring an explanation as to precisely who this bloke was and is. "The singer of The Kooks?" asked another.

"No. Not The bloody Kooks."

Time may not have forgotten Davies' most celebrated compositions - `You Really Got Me', `Waterloo Sunset', `Sunny Afternoon' (featured here) and so on - but the current reissues of Face to Face, Something Else by The Kinks and Arthur or the Decline and Fall of the British Empire provide timely reminders that The Kinks were at their peak way more than just a singles band.

Beginning with Face to Face and arguably culminating with 1971's Muswell Hillbillies, The Kinks embarked on a five-album run that you'd be hard pressed to find the equal of in popular music history. Opening salvos such as `You Really Got Me' and `All Day and All of the Night' established Davies and co as a pioneering proto-punk reference point - Dave Davies' tampered-with guitar amp introducing the rush of wild distortion into mainstream rock and roll - but the run of obligatorily cover-heavy early albums was brought to a halt by Face to Face, which featured only homemade material.

It's not hard to see how this shift came about. With the twin successes of `A Well Respected Man' and the Dave-lampooning `Dedicated Follower of Fashion', Ray had not only stumbled into a devastating (and prolific) run of songwriting form but also a formula that could renew his band's appeal. They'd already done the rock thing, so when these two bouncy, wryly observational singles hit the bull's eye - and were subsequently split in twain by the laser-guided genius of `Sunny Afternoon' - it was clear where The Kinks had to go next.

However, it wasn't an easy transition to make, Ray suffering a nervous breakdown just before going into the studio for the album's major recording sessions. Consensus attributes this breakdown to the various pressures placed on his precocious shoulders by label and management alike, and this logic has been extrapolated into the suggestion that these pressures prompted Ray's shift into narrative songwriting, whittling the world he saw around him into three-minute pop nuggets and internalising only on the self-explanatory `Too Much on My Mind'.

This latest reissue of Face to Face comes with a bonus disc of stereo mixes, offering another opportunity for reappraisal; however, happily, none is required. If you like your music to be kept clean, head straight for this second disc but bear in mind that the added spaciousness drains some of the ramshackle charm from what are not exactly flawless performances. For the full Kinks experience, Rocksucker recommends that you stick with the dirtier, raspier mono versions of the first disc.

Opening track `Party Line' begins with the ring of a telephone followed by a "Hello, who's that speaking, please?" (courtesy of the band's well-spoken manager Grenville Collins), offering some insight into Ray's original plan to link the tracks together with sound effects, an idea which was rebuked by Pye Records. A playful rockabilly number sung by Dave, `Party Line' is ostensibly about the irritation of sharing a telephone line with another household but could be interpreted as a telltale sign of Ray's descent into paranoia. That may be reading too much into what is essentially a throwaway pop song but then jauntiness punctuated by the odd killer line was such a feature of Ray's songwriting that who other than him could say?

The album then moves on to `Rosie Won't You Please Come Home', written from the point of view of a mother pining for the return of her emigrated daughter (are we right in thinking that Ray and Dave did indeed have a sister called Rosie who moved to Australia with a fellow named Arthur?). A more minor key affair infused with twinkling harpsichord, Ray's typically honeyed croon offers to "bake a cake if you tell me you are on the next plane home", a line which singlehandedly encapsulates the sadness, longing and parochial quaintness that this track so masterfully wields. By the time the mother figure is offering to "sacrifice all I have to have a happy home once more", you feel like flying over there and bringing Rosie home yourself.

Third track `Dandy' is of course about a cad and a bounder whose "little life" revolves solely around "chasing all the girls" who can't resist his charm, "knocking on the back door, climbing through the window" in order to capitalise on the fact that "hubby's gone away". The major key bounciness of the song could almost fool you into thinking that Ray is condoning this underhanded practice were it not for the sneering vocal delivery and the warning contained in the middle eight: "When you're old and grey, you will remember what they said / That two girls are too many, three's a crowd and four yer dead".

Despite figuring so early in the running order, `Too Much on My Mind' - again assisted by that twinkly harpsichord - feels like a centrepiece, with Ray drawing from his own state of mind for the lyrics, which verge on being sighed: "There's too much on my mind / And I can't sleep at night thinking about it". It's so plaintively beautiful that the hammering harpsichord intro of next track `Session Man' comes as something of a wake-up call.

A playful dedication to Nicky Hopkins, purveyor of said harpsichord and indeed a session man par excellence, lines such as "A rock and roll or folk group star / A Philharmonic orchestra / Everything comes the same to him" make for the kind of intelligently witty portrait that only Ray Davies was capable of conjuring. "He reads the dots and plays each line / And always finishes on time / No overtime nor favours done" almost seems as if Ray has an axe to grind but it's so upbeat and rocking that it's hard to see `Session Man' as anything but a send-up borne of fondness.

Sixth track `Rainy Day in June' could barely be more apt given that there's a thunderstorm happening as I write this, and it's another one whereby you wonder how much of it to attribute to Ray's state of mind at the time. The lyrics paint the fantastical yet grim spectre - "The demon stretched its crinkled hand and snatched a butterfly / The elves and gnomes were hunched in fear, too terrified to cry" - a paradox which matches the song's title and, quite possibly, the idea of Ray suffering a breakdown while at the peak of his powers as a celebrated and beloved rock star. Metaphorical confessional or ugly fairytale? Either way, it's delightfully unsettling and works well as an otherworldly prelude to Face to Face's grounded middle section.

The 1-2-3 hit of `A House in the Country', `Holiday in Waikiki' and `Most Exclusive Residence for Sale' sees Ray going all-out for narrative centred around themes such as failure, disillusionment and rampant industrialisation: respectively, they deal with an objectionable and materialistic nouveau riche, a competition-winner's trip to Hawaii which is marred by the blatant inauthenticity of the destination, and another nouveau riche - the same chap, perhaps? - who has squandered his new-found wealth foolishly and takes to the bottle as his luxury lifestyle disappears before him.

Of course, some of these themes are revisited in monumental penultimate track `Sunny Afternoon', but not before the Eastern mysticism of `Fancy', understatedly heartbreaking `Little Miss Queen of Darkness' - "...the only boy she had went and coolly stepped aside / And Little Miss Queen of Darkness might as well have died" gets me every time - and the vacuous, Dave-sung `You're Lookin' Fine', which one can only imagine was an old composition revisited unless an exercise in rock cliché was the whole point (in which case, job well done).

Face to Face draws to a close with `I'll Remember', another that has more in common with The Kinks' earlier output but with far more substance than `You're Looking Fine', steeped as it is in fond nostalgia. It's a pleasant comedown from the majesty of `Sunny Afternoon' and segues nicely into the bonus material present on this latest reissue.

The familiar parping trumpet of contemporary single `Dead End Street' introduces a song every bit as powerful as `Sunny Afternoon' and, while it had some success, it is rather a mystery that "There's a crack up in the ceiling and the kitchen sink is leaking" didn't wind up as seminal an opening line as "The taxman's taken all my dough". One of many Kinks high points not to feature on an album proper, `Dead End Street' boasts the kind of shouty chorus, barrelhouse piano, gallows humour and everyman call-to-arms that should have had people calling for it to be an unofficial national anthem. It is simply masterful.

`Big Black Smoke' isn't quite as effective a portrayal of murky urban life but it is still a fine thing indeed, with its general London sound effects providing another hint into Ray's original concept. `This is Where I Belong' is a misnomer insomuch as it deserves far more than its status as bonus track; in fact, it's another cast-iron classic, Ray at his reflective best between flute-y trills so heart-warming that it could end wars if it was only given the chance to. "I won't search for a house upon a hill / Why should I when I'd only miss you still?" - perhaps that breakdown made Ray realise what was truly important to him in life, and that the high life available to him as a rock star just wasn't for him.

Final bonus track (not including the various alternative versions, that is) `She's Got Everything' is charming enough in its breezy, ivory-tinkling, drum-fill-happy way but can be filed alongside `Big Black Smoke' as a respectable second to the should-be classics of `Dead End Street' and `This is Where I Belong'. Overall, there's more than enough first-rate material on here to explore before diving into the Deluxe Edition of Something Else by The Kinks; watch this space for an in-depth review of that, as the unlikely bedfellows of vaudeville and psychedelia begin to creep in, and Mick Avory and Pete Quaife start to come into their own as musicians...

Posted on Sep 2, 2011, 8:48:19 AM PDT
Eddie H. says:
Right now I am at work...this discussion is going to get me started....The Kinks are far and beyond my favorite band of all time, I have analized Ray's lyrics(there is a lot to talk about, even something stupid like LoLa being a tranvestite and the characters name Lo is mascaline , La is feminine), their beatiful songs are so touching, when they rock they rock harder than anyone.Thet have made me cry , they have made me laugh and in some spots at the same time! I have seen them around 50 times, have everything they have recorded.They really,REALLY saved my life, When I was going though tough times ,they got me thru them. This will continue.....I haven't even touched the surface!

In reply to an earlier post on Sep 2, 2011, 9:36:17 AM PDT

Whew. Glad I read that. I have all the Castle releases (and Velvel from the later period), and those work just great for me. I don't know of any Kinks songs from the 60s that I don't already own. I can do without different mixes of existing songs.

In reply to an earlier post on Sep 2, 2011, 11:08:07 AM PDT
MiBoDoCa says:
There is NOTHING unnecessary from The Kinks!

In reply to an earlier post on Sep 2, 2011, 1:21:35 PM PDT
Bob Bykowski says:
If any two bands should reunite while most of their members are still alive, it's the Kinks and Creedence Clearwater Revival. Time to put down the sword and resolve their feuds.

Posted on Sep 2, 2011, 1:26:56 PM PDT
MiBoDoCa says:
God Save The Kinks!
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