Ray Davies – Other People’s Lives – Classic Music Review


In the liner notes for Other People’s Lives, Ray Davies expressed his wish to break away from the back catalogue of songs that follows him wherever he goes. Since he has to feel proud of what he accomplished, I think what he’s really talking about is escape from the weight of fan expectations that follows every artist in any field, but is particularly heavy when it comes to musicians and actors. Some artists, like The Rolling Stones of the past few decades, play to those expectations and make a lot of money recycling the old stuff ad infinitum. Lennon and McCartney tried to leave The Beatles behind and, ironically, were largely successful in doing so. It’s hard to confuse their solo work with their Beatles work, not because they forged new paths in music, but because the quality of their solo work left much to be desired. I never wanted either of them to try to be Beatles again, but I wanted them to be good.

Sorry that didn’t work out.

I’m fairly immune to nostalgia, so my expectations are more limited. You may say that’s only because the music of my generation sucks in comparison to the music of my parents’ generation, but it’s really because I don’t have a need to be comforted by hearing the same shit I heard last year or when I was a kid. I like artists to keep creating new things, different things. Part of the reason I like Jethro Tull so much is that they kept changing things up, often radically. Even when some of Ian Anderson’s experiments fell flat, I appreciated his explorer’s spirit.

Notice I said, “fairly immune.” My shield is penetrable, and I did have one semi-nostalgic reaction to Other People’s Lives: I missed Dave Davies. The sound of his brother’s voice must have triggered the expectation that I would hear Dave’s one-of-a-kind style of guitar picking. It took me a few spins to get used to the absence of both Dave and Mick Avory, but once I got over it, I was delighted to find Ray Davies, still the brilliant social critic who makes you think, feel and laugh about the human condition.

The music on Other People’s Lives remains firmly rooted in standard rock-pop structure for the most part, though there are some clever diversions and interesting instrumentation. A few times I had the strangely comforting feeling that many people get with Kinks’ songs: “Haven’t I heard this tune somewhere?” Borrowing or mirroring aside, the songs have a definite stickiness to them that guarantees you’ll hear echoes of them in your brain for days. Ray’s vocals are a definite strength, for while his voice may sound a teeny bit rough around the edges in spots, he sings with enthusiasm and surprising depth. I’d go even further and say when it comes to the quality of his vocals, Other People’s Lives is one of his best efforts. Ray had just crossed the big divide into his sixties when Other People’s Lives was recorded, so it’s another bit of evidence that men don’t necessarily lose it when they move up in the age bracket. Guys, the stigma of age is all in your heads! I ought to know— a few months ago I fucked a guy in that vicinity who was one of the best pieces of ass I’ve ever had! We will therefore proceed with utter confidence that Ray Davies still had his wits (and who knows what else) eight or so years ago when this album was released.

The opening sequence is somewhat disorienting . . . I thought I’d fucked up and put on “It’s All Too Much” from Yellow Submarine. The wailing guitar feedback is very similar, but instead of the organ appearing at its close, the feedback resolves into a smashing full-band sound. I love the decision to have the bass play the motif, and the strong bass turns out to be an exhilarating aspect of many of the tracks. The song you hear is “Things Are Gonna Change (The Morning After),” an incredibly catchy piece of music indeed. The theme of the song is human perseverance, and what’s fabulous about the lyrics is how Ray universalizes the human experience of struggle-failure-success. At times you think he’s talking about someone recovering from a bender; elsewhere you’d swear the subject is a failed relationship; in still other places, it’s getting sacked. All are examples of a common human experience. Ray’s attitude is one of marveling at the pattern, how even when “you feel shite, the air bites,” you pick yourself off the canvas and it’s once more unto the breach. He refuses to take a side between optimism and pessimism, instead telling his listeners, “You will learn/The barrier we cross/Is somewhere between Heaven and Hell.” Welcome to life!

Much of Other People’s Lives is reflective in nature, as Ray repeatedly confronts the fact that he has fewer years ahead of him than he has behind him. “After the Fall” is thematically similar to “Things Are Gonna Change,” dealing with the fall from grace and recovery/retribution/rebirth that Ray identified as one of the album’s core themes. Here Ray warns us not to expect much help from the heavens and questions the need for living our lives under pretense (“You can learn your lines and fabricate a show/But the way we come in, yeah, that’s the way we’re gonna go.”) Again he points out our ability to recover from setbacks, hinting that rather than looking at them as debilitating embarrassments, we should rein in our egos and forgive both self and others in the process:

So I fell on my arse, now I’m feeling the pain
But the feeling will pass and so will the shame
The bigger the ego, the bigger the fall
When your reputation counts for nothing at all
Ah, but when the mist clears, the sun will shine again

“Next Door Neighbor” abandons the hard rock instrumentation for music that’s more in the realm of “parlor rock,” similar to the style of the songs on Something Else and Village Green Preservation Society. Ray’s ability to universalize experience is the highlight of the song, as he takes three fictional next-door neighbors who could have “been any of the kids I grew up with” and turns them into our next-door neighbors, complete with the façades that ornament the personality like lawn statues ornament the garden. After he relates how they all turned out (all had different experiences that all fail to measure up to society’s expectations), Ray suggests dropping the masks and relating empathetically instead: “We had our tiffs together/Our rows and our rifts together/But let’s learn to forgive together.” It’s a sweet song that points out one great advantage of aging: gradually you learn that all the bullshit you thought was vitally important simply fucking isn’t.

In the liner notes for “All She Wrote,” Ray comments, “I really didn’t know who I was when I started this record.” That’s a beautifully healthy attitude for an artist! It means that he’s throwing out the old filters through which he viewed experience and rethinking everything from the ground up. In this sexy little rocker he universalizes once again, patching together a summary of all the break-ups in his life and the accompanying drama and pathos. The trigger for the song is a letter received from an ex that is full of snarky, backhanded compliments and acid-soaked best wishes:

All she wrote is a goodbye letter
“It’s over for us, to tell you the truth
I’ve met this person in a disco
He’s really special, reminds me of you

“So don’t pretend to be a new man
Be chauvinistic, that’s your way
Now you’re free to make your play
For that big Australian barmaid.”

The implication here is, “Why can’t people just move on?” The answer lies in inexplicably strong bonds between certain couples who should never have been together in the first place. These strange connections are explored in the brilliant, “Creatures of Little Faith.” Ray wrote that this slow-tempo song was probably sung by the guy who received the letter in “All She Wrote,” a character locked in one of those “Suspicious Minds” relationships where both parties spy on the other to check for signs of infidelity. I have never understood the need to “keep one on stand-by while you play the field” (if you can’t tell your partner that you’re going to fuck someone else, you either haven’t been honest with yourself or you’re with the wrong person). However, I do know that insecurity has a powerful distortive effect on the personality, triggering a greed of frightening power and perseverance. Ray describes the guy as a likable villain who comes through the song a better human being; I think the song leaves room for doubt. I’m not sure the narrator means it when he sings of the virtues of mutual faith at the end of the song; my intuition tells me he’s trying to pull the wool over her eyes so he can start prowling again. Men! Ray’s vocal is a work of perfection, combining ambiguous head-shaking sadness at how awful the situation has become with a touch of tongue-in-cheek. The melody is marvelous, and the arrangement, integrating chorus-tinged guitar with saxophone and a laid-back rhythm, is exceptional.

Not so exceptional in comparison is “Run Away from Time,” where Ray borrows the concept of “time the avenger” from his former squeeze Chrissie Hynde and doesn’t even mention her in the liner notes. How gauche! The song opens with a motif similar to “Can’t Help Myself” by The Four Tops and doesn’t get any more interesting than that. Much better is his tragicomic take on tourism, “The Tourist.” This was the first song to come out of his trip to New Orleans in 200o to write songs “rooted in the American experience.” I suppose Latin Funk is as American today as apple pie, but more to the point, Ray used his temporary exile to shake off the rust and recover his talents as one of the great social critics of his age. Another song of universal experience, Ray bemoans mindless, programmed tourism and the mutual exploitation of tourist and native through a vocal that reflects the internal dialogue of the disinterested but disgusted observer of the human animal . . . and himself:

I’m just another tourist checking out the slums
With my plastic Visa drinking with my chums
I dance and swing while ABBA sing
And I flash my Platinum
To the sound of Livin’ La Vida Loca
Yes, Livin’ La Vida Loca

The repetition of the title of Ricky Martin’s dreadful anthem is a masterstroke. Its first mention is just the name of a song played to death; the second mention causes us to focus attention on the ironic meaning of the transition and think “What a crazy life!”

The narrator of “Things Are Gonna Change” reappears in the singalong “Is There Life After Breakfast?” Another sticks-in-your-head number, this “buck yourself up, mate” song features a combination theme of overcoming morning depression and facing the neuroses associated with the inconveniences of aging:

Just because all of the plumbing
Isn’t all it used to be
Turn the tap, see, a little bit’s coming
That must make you feel relieved

Don’t turn into a total embarrassment
To your friends and family
Get out of bed, the whole day’s ahead
So take the pills and drink your tea

There’s a repeated two-stroke guitar strum in the intro and fills that is so “Lola” that I begin to doubt Ray’s stated desire to escape from his back catalog. If you could imagine the song recorded with a simpler arrangement in relative lo-fi, you’d swear it could have qualified for a spot on The Great Lost Kinks Album.

Ray spends a lot of space in the liner notes explaining the background of “The Getaway (Lonesome Train),” which is a hint that the lyrics weren’t good enough to make the point he was trying to make. In the title track, however, he returns to form with a bitter attack on the sensationalist tabloid journalism that has established the right of the roving reporter to invade every inch of the lives of public figures in order to feed the sickening hunger of the masses to delight in the suffering of those they placed on pedestals:

Politicians dressed in drag
Careers stopped with quick back stab
While anonymous informer flees
And leaves us with our fantasy
And erotic visions

Who did what, when, to whom
In the dominatrix room?
Tabloids daily, titillate
Each sordid tale reverberates
All across the nation

Although I usually deplore the tendency of rock stars to bring their kids into the act, Beth Davies does a wonderful job on this song with background vocals, erotic vocalizations and passable Spanish.

I knew that Ray Davies couldn’t get through an entire album without a resurrection of the preservation theme, and “Stand Up Comic” fits the bill. In this case, he’s talking about the preservation of manners, decorum and style, a set of social constructs under serious attack by the trend we see in entertainers and mass media to play to the lowest common denominator. The direct attack is on yobs, one of several reasons I’ve found Jolly Old England a much less pleasant land of late. As defined by The Urban Dictionary, a yob is “The antithesis of what a good boy should be—rude, obnoxious, violent and stupid.” I’ve always found it curious that the Irish have been tarred with the “chronic drunk” label by the Brits when the Brits are a hundred times worse, something you can experience first-hand by strolling around Soho almost any night you choose. Only in Britain have I been physically accosted in a way that would be unthinkable in the allegedly barbaric USA. The last time I was in London, I was walking in the vicinity of Covent Garden with a male companion when a lout stumbled up to me, google-eyed and drooling, muttering something about, “Oh, you’re a diamond . . . a beautiful diamond,” and began grabbing my tits and ass.

With one well-positioned kick, I made certain that one lout would be unlikely to father children without major reconstructive surgery.

Ray didn’t need to limit his attack to the male gender, as British women are becoming truly appalling and a national embarrassment with their binge drinking habits. This is big back in the States, too, where I often heard male colleagues at work describe sexual encounters where the women were so drunk they threw up during the sexual act. My fucking god!

One of the things I love about living in France is that there is still a sense of propriety in the culture, a set of agreements that are not so much about keeping up appearances as having customs and structure that add to the beauty of an experience, such as dining or flirting. It’s not snobbery, it’s not repression, it’s not having a stick up the ass . . . it’s called class! Ray decries the regrettable tendency in the Angl0-Saxon cultures to violently and disgustingly rebel against such norms by taking rudeness to the extreme:

And a well-spoken hero from a yesteryear
Walks out onto a stage and they all shout “queer!”
And that’s that

Manners, I mean
Never was much, never has been
But the little bit that was was all that we had
And now the clown does a fart and we all fart back
And that’s that

Stand up, stand up
Can you hear me at the back?
All you wide boys standing in a row
And the comic shouts
And we all shout back
And the mob says “follow” so we go

“Stand Up Comic” is the most theatrical piece on the album, and I’m happy to report that Ray’s acting skills, as exhibited in disciplined and subtle changes in tone and pronunciation, remain intact.

The album proper ends with my favorite song from a musical perspective, “Over My Head.” Opening quietly with a gorgeous guitar mix, the song shifts to a rock-funk feel for the opening verse. What’s fascinating is the A-B-C structure of the song, with verse, bridge and chorus each in a different key involving a set of three entirely complementary chords. The verse is a simple Em-D-Bm (with an odd Bm7 here and there), the bridge a D (no third)-C-G (with a D7 transition) and the chorus G-C-D to resolve back to the Em. That is a very clever way to wring something new out of standard rock-pop chords, and the build created by the changes is terribly exciting. “Over My Head” is one of the strongest album closers I have heard in years . . . with an asterisk I will explain after we watch the video:

The asterisk has to do with the “hidden bonus track” on Other People’s Lives that I wish they’d left for another day, another album. “Thanksgiving Day” isn’t a bad piece, but it doesn’t fit well with the theme of struggle and redemption and isn’t particularly insightful about the American social custom centered on food and family, in that order. “Over My Head” is such a powerful way to end the record that I resent the intrusion.

Other People’s Lives came out during a period when my life was in serious flux, so I didn’t pay much attention to it at the time. It’s been on my to-do list ever since I started the blog, but I wanted to get through The Kinks’ catalog before going there. This proved to be a stroke of good fortune, for when I started listening to it repeatedly in preparation for the review, it was like listening to a new release. As I’ve mentioned far too often recently, the cupboard is pretty bare when it comes to new music that’s worth a damn, and to hear something new of exceptional quality from one of the greatest songwriters of them all was a fantastic experience. Ray Davies proved he still had a lot in the tank after sixty years, breaking the mold of icon and showing us that he is alive, kicking and capable of brilliance.

Link to All Kinks Reviews

11 responses

  1. Americana arrived last week and I am enjoying it a lot. I’d love to hear your take given your thoughtful past reviews of the Kinks and Ray Davies. It’s not often you and I have gotten to hear a record worth hearing for the first time at the same time.

    1. Haven’t heard it. Right now I’m doing all I can to prevent a Nazi from becoming the next French president. I’ll pick it up after the election if all goes well!

      1. Slightly more important! Good luck!!! I’m in Italy right now so a bit closer to the action. Seems Le Pen doesn’t have enough support to win but I’ve heard that one before…

  2. […] Other People’s Lives […]

  3. I’m shortly to be reunited with my CD collection that’s been sat in storage for almost 4 years and this is one of the handful of albums I’m gonna sit down and revisit. Hence I can only really speak from memory and unfortunately, your excellent review hasn’t triggered off enough of my ever greying memory cells hence I need to give this one a fresh listen to offer a full comment. However, this is Bazzabab, so you know what’s coming…!

    When this album finally appeared I thought “About bloody time!” The first ever all new solo Ray Davies album with no Kinks retreads, so for me, this was a major event since we’d all been waiting for Ray to finally get his arse into gear to produce and release a PROPER solo album. So… it was HUGE deal for me at the time.

    Now, I’m intrigued by the many references here to Ray’s sleeve notes… this has me scratching my head since I have zero memory of such notes – I would had devoured them! The song that stood out the most for me was “The Tourist” – that made me laugh and reflect with sadness at the same time which for me is pure vintage Ray, smiling at something that is actually tragic. I can’t remember much about the rest of the album at the moment, probably because it’s a few years since I last listened, not to mention that I treated this album as a whole – a piece to be listened to in it’s entirety as opposed to selected highlights, so I do look forward to revisiting it very soon.

    Of course, Ray had the misfortune in the 60’s to be up against stiff competition from Lennon and McCartney hence his work was largely overlooked at the time due to a variety of factors, but when I listened to this album I did feel smug and content thinking “Well, this is way better than any of the tosh Macca has tossed out for decades” and I think that’s partly because Ray remains connected to his roots, remembering the average person in the street whereas Macca indulges in frivolity, a rich man simply writing for the sake of it.

    Unfortunately since then, despite the “Working Man’s Cafe” album Ray has been relying way too much on nostalgia. The worst thing he ever did was think he could work with a choir – the “choral” album angered me not because it was yawn… yet another bunch of retreads but having been part of a choir myself, I was horrified by the lack of imagination with the choral parts… the choir is simply reduced to “singalongaRay” duties throughout so it was utterly pointless. And I’m not even gonna mention that all star guest album he did – I’m still trying to forget that one.

    The point I guess I’m making is, “Other People’s Lives” proved that Ray Davies is still a fine songwriter. Sure he’s been patchy since The Kinks’ Arista era kicked in (as you know I love and champion the under-rated RCA era!) but he still has the talent and capability, hence when he gets round to releasing his next album – whenever that may be – I’ll be buying it with the money I’ve saved from refusing to waste it on whatever Macca and The Stones’ latest pitiful efforts are!

    Last but not least – British women. Unfortunately it is true hence why I’m not so young, free and still single because British women + Alcohol = Impossibility. I’ll leave it there or else I’ll prattle on forever and a day about that thorny issue!

    1. You can’t leave the British women thread incomplete! The behavior is incomprehensible to me, especially in contrast to the decorum of French women. What’s the sociological cause?

      I was stunned by what a great album this was. Usually when I’m finished with a review, I delete the playlist on my iPod to make room for the next; Ray’s still there, and there he will remain. The comparisons to Macca and The Stones are completely valid; I think Other People’s Lives enhanced Ray’s reputation a thousandfold and gave even deeper credibility to the songs from his peak period with The Kinks.

      BTW, I am going to review Everybody’s in Show Biz. The historical sequence is disrupted by its absence. Stay tuned!

  4. Thanks for taking this one on. I fully concede that I lost neutrality with Ray and the Kinks long ago and that I’m likely to find something to like out of almost anything he/they release. However, when Other People’s Lives came out, I was convinced that this was a great record, though it arrived to little fanfare and disappeared without much of a trace. What else is new, huh? I was happy to see that you singled out “Over My Head” as a stand-out track; I love this song (though I really miss Dave big time at guitar solo time). I remember thinking of most of these songs in relation to Ray’s being shot (the record came out after his ordeal though the songs were written before), but I can now see the overarching theme of recovering from loss/failure/injury/hangover/life with your review’s help. Thanks! Having gone through a loss of job/reputation/self-esteem last year, the songs speak much more personally to me now, and I like them all the more for it. Ray’s lyrics and voice always make me feel less alone and it’s nice to know he’s still at it!
    Random thoughts:
    – I like Runaway From Time more than you because the high notes Ray stretches to hit (and he hits them beautifully) made me think of the old Kinks; you are right that his vocals are incredibly good on this record.
    – If Paul McCartney had released Next Door Neighbors, it would be trumpeted as his return to full genius form. But I guess only Ray Davies could have written that song.
    – I love it that you saw the Preservation theme in Stand-up Comic, too; I had fun imagining that the singer was Flash 40 years later, presiding over Scrapheap City.
    – I agree Thanksgiving Day feels tacked on here, but I really like this song; I’ve sent it to my daughter the last three years she’s been away at college during Thanksgiving and we’ve both grown very fond of it.
    – Not only do I miss Dave’s guitar, but I miss his harmonies, too. Here’s to hoping they collaborate on something this year!
    Hope 2014 is treating you well. I made the decision to follow my dream at the end of last year and so far, so good, though some days are better than others. Thanks for continuing your reviews – your story-telling always make me laugh and your insights always make me think.

    1. Thank you! I’m happy to hear you’re following your dream and will be rooting for your success. I too was absolutely stunned by the quality of the songs and the recording, and very disappointed that the album didn’t gain much traction in a thoroughly crappy decade for music. It really is a remarkable piece of work.

  5. When you take the high points of this album and its followup, “Working Mans Cafe”, the case is clear that Davies is by far the most artistically vital of the great ’60s British pop/rock songwriters (and to be honest, McCartney is the only realistic one also still in the game). I still listen to these two albums from time to time, and enjoy them.

  6. Delicious review and so correct in all of your perspective. Then man has an incredible gift that continues 50 years on. And yes, there will be The Kinks reunion in 2014. Probably multiple dates in select venues so that that can settle in and not get road weary.

  7. […] Ray Davies, Other People’s Lives […]

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