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 guarantee 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 pure 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 really 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 absolutely 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 chords that are entirely complementary. 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 really 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 terribly 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 definitely qualified as alive, kicking and absolutely brilliant.
I’d planned to stop my reviews of The Kinks after Schoolboys in Disgrace, but a nice gentleman named Steve suggested that my work would be incomplete without at least taking a look at the hits that made them famous, a fair point indeed. So, as I did for Past Masters 1 and 2, I shall do the same for The Kinks and consider this first collection of their greatest hits.
This is like reviewing an entirely different band! Had they retired after this album, the early Kinks would have later been reclassified as one of the greatest garage bands in history. That said, The Kinks Greatest Hits definitely reveals a progression in terms of lyrical sophistication that would lead step by step to Face to Face and beyond.
“You Really Got Me”: Third time’s the charm! After two failed attempts at getting to the toppermost of the poppermost, Dave Davies took a razor blade to his amp and the rest is history. The distortion created by that surgery flavored the memorable two-chord riff with an unusual sting for the era, and helps explain why this song continues to sound so fresh today. Ray’s vocal is sheer perfection, moving from cool detachment in the verses to growling it out in the climaxing choruses (climax = double entendre). As the chords move up the scale, unholy background vocals and (on verses two and three) driving piano cause the song’s temperature to rise and rise until the explosion of the triple repetition of “you really got me” (explosion = double entendre). The intervals between the verses create little islands of stillness so you can catch your steamy breath, but you know The Kinks are just teasing you before they turn up the heat full blast again and again.
Did I miss anything? Guitar solo? Is there a guitar solo on this track? Really? Let me listen again . . . oh, that guitar solo!
Dave Davies’ marvelously manic attack is simply one of the greatest moments in rock. You can easily put his solo in its proper context context by comparing his work to anything George Harrison was doing at the time. George tried his best to hit the notes, like a good schoolboy, and sometimes he did, sometimes he didn’t and sometimes Paul had to step in and do it for him. Dave Davies didn’t care so much what notes he hit as much as he wanted to ride the kinetic energy of rock ‘n’ roll and allow instinct to guide his fingers over the fretboard. The cascade of bends and fills that dance both on and off the beat is a mind-boggling combination of blues riffs and sweet defiance of convention, but most importantly, he captures the sexual and rebellious feel of this archetypal expression of rock ‘n’ roll. Solos like these are why they call the best of them “killer.”
“Tired of Waiting for You”: After “You Really Got Me” and “All Day and All of the Night” I suppose The Kinks felt they had to do something more subdued to show off their range, but a song title that begins with the word “tired” wasn’t a particularly wise choice. The best part of this song is Mick Avory’s drum work, a dazzling display of nimble work on the toms, snare and cymbals. Ray’s vocal is also a high point, covering an impressive range and executed with superb phrasing. I like the song, but it doesn’t knock my socks off.
“Set Me Free”: This is the stronger of the two mid-tempo hits because of its unusual rhythmic mix and remarkable chord complexity (still debated on KindaKinks.net). The rhythmic interplay between Dave Davies’ rhythm guitar and Mick Avory’s drum patterns is fascinating, as Dave accents different beats in the verses. When they come together in the choruses after that simple but exciting shift to the D chord at the end of the verse, it’s a little moment of musical heaven.
“Something Better Beginning”: Yecch. This song is so pre-Invasion high-school-cliché that I’m surprised they got through it without breaking down in fits of laughter. The Honeycombs did a version of this song that was even worse. Even though it wasn’t a hit, I would have preferred the inclusion of “Nothin’ in This World Can Stop Me Worryin’ ‘Bout This Girl,” even with all the apostrophes. It’s a fabulous acoustic number with a nice rhythmic pickup in the chorus and helps the fan broaden his or her perspective on The Kinks’ early period.
“Who’ll Be the Next in Line”: While I appreciate The Kinks trying to vary the pattern with a sort of faux-Rumba, this song sounds forced and never really finds a groove. It’s also awkward to sing the contraction, “who’ll” because, phonetically speaking, the syllable ends in a lateral consonant requiring the tongue to block the airflow, necessitating oral acrobatics to get to the plosive “b” that follows. In simple terms, it’s a difficult song to sing along with. You add the fact that it doesn’t have a strong hook and I’d file this one under “curiosities.” When I listen to this song, I tend to tune out everyone except Pete Quaife, who excels on the bass here. However, I did find a cover version of the song by French icon Francoise Hardy that I found . . . well, charming.
“Till the End of the Day”: Yes, yes, I know. It’s the same chord pattern (in a different key) as “All Day and All of the Night” played to a slightly different rhythm, but the energy The Kinks bring to this record make it a winner in my book. The opening “Baby, I feel good” is such a strong invitation to get up and rock that you can’t dismiss this song on the basis of self-plagiarism. While Dave’s solo here is less manic than his other great early contributions, it’s a sweet piece that should have received a bit more gain in the mix. The harmonies and background vocals help build the excitement, and Ray’s enthusiastic and loose lead vocal simply knocks me out.
“Dedicated Follower of Fashion”: Who was the idiot responsible for the track order on this album? I can understand separating “You Really Got Me” from “All Day and All of the Night,” but I really resent this song appearing before “A Well Respected Man,” because it diminishes the importance of the single that moved The Kinks from boy-meets-girl rock to social commentary. Harrumph!
Bitching now complete, I love this song! The brilliant invention of the word “Carnabetian” is enough to make my twiddle diddle (I find intelligence incredibly sexy), but Ray’s tongue-in-cheek vocal of remarkable variation is the real centerpiece. The call-and-response pattern “Oh yes, he is” forces you to sing along at those points, but after that you want to shush everyone so you can listen to Ray’s delightful articulation. The Big Ben-like opening and closing chords are a brilliant touch.
“A Well Respected Man”: The relative quiet of the opening, with that faint strum leading to a clear and confident vocal over acoustic guitar, may be Dylan-influenced, but I hear it more as the sound of a man who has found his inner voice and mission in life. Ray Davies takes on one of the most important and most despicable aspects of UK society—class consciousness—and exposes it for the hypocritical bullshit it is (in somewhat polite language suitable for the censors):
And his mother goes to meetings while his father pulls the maid
And she stirs the tea with councilors while discussing foreign trade
And she passes looks, as well as bills, at every suave young man
Here Ray also displays his talent for mimicry, delivering the line “And he plays at stocks and shares, and he goes to the Regatta” in the bored, smug tones of the uppers. Although simple and subtle, the harmonies in the chorus provide a nice variation from the necessarily steady delivery of the verses, which are phrased like the indictment they represent.
“Everybody’s Gonna Be Happy”: This was a hit? Really? Hmm. Let me check . . . ah, it was the first of their singles not to crack the UK top 10, so I’m not alone in my indifference. It’s clearly the most dated song of the bunch, sounding like something that might make the soundtrack of an Austin Powers sequel. The hand-clapping in the chorus is really annoying, because either The Kinks lacked the tight hand-clapping skills of The Beatles or the engineer forgot to turn off the echo effect: the claps sound off-rhythm and choppy.
“All Day and All of the Night”: There are many things that make this song one of the hottest ever recorded—Ray’s slightly Caribbean-tinged sneer, Dave’s distortion and killer solo, the demonic background vocals—but for me it is one single musical decision that sends me over the edge. The line in question is “The only time I feel all right is by your side.” Usual rock dogma would dictate that the band hold onto the final chord of the transition line from verse to chorus and drive it home. What The Kinks do is brilliant: as Ray holds the note at the end of the line, instead of sticking on the A-chord, the band plays the three-chord pattern using the A-G-C chords. This has the effect of increasing the original tension of the defiant A chord, creating a dissonance of intense excitement. I’ve heard this song what, a billion times, and that move never fails to send me into fits of ecstasy.
This concludes my look at The Kinks, and what a delightful journey it has been. The experience certainly confirmed my decision to rank Ray Davies above Lennon & McCartney on my great songwriters list, but I also developed a deeper appreciation for their commitment to follow their artistic instincts instead of following the trends of their times. Before I leave, I want to thank all of The Kinks fans who not only read my pieces, but also took the time to comment on them. The comments were often brilliant and insightful, and while we did have our disagreements, the level of engagement was both thrilling and deeply appreciated by this reviewer.
God Save The Kinks!