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Emerging from the same British music boom that birthed the Beatles and the Rolling Stones, Dave and Ray Davies’s band, the Kinks, became one of England’s most influential groups. Remembered best for such singles as “You Really Got Me,” “Lola,” and “Sunny Afternoon,” the Kinks produced 24 studio albums between 1964 and 1996. The Kinks’ prolific and varied catalog have made them both a mirror of and a counterfoil to nearly five decades of British and American culture. The Kinks: A Thoroughly English Phenomenon examines the music and performance of this quintessentially English band and shows how aspects of everyday life such as work, play, buying a house, driving a car, drinking tea, getting drunk, and getting laid, affected and shaped their creative output. Through an investigation of their music, lyrics, and image, Carey Fleiner shows how the Kinks reflected both the ordinary and the absurd, sometimes confronting topics with anger and sometimes with self-deprecating humor. The Kinks follows the band’s trajectory more or less chronologically and explores themes such as growing up in post-war Britain, the packaging and exploitation of the “British Invasion” bands, satire and self-consciousness, sexuality and gender-bending, social and political pessimism, the comforts of family, and the effects of fame and fandom. Fleiner’s investigation into the influences on and impact of the Kinks’ music takes readers on an engaging adventure through the musical culture of the ‘60s, ‘70s, and ‘80s, revealing how the Kinks created an undeniable sound and image that still attracts new followers today.
You Really Got Me is Nick Hasted’s illuminating biography of The Kinks, drawing on years of in-depth interviews with Ray and Dave Davies and shedding new light on a turbulent 30-year career scarred by suicide attempts, on-stage fights and recurring mental breakdowns. The Kinks’ distorted fuzz cut through popular music like a chainsaw and unexpectedly propelled two brothers from North London straight to the heights of stardom, to stand alongside The Beatles and The Rolling Stones. With exclusive interviews Nick Hasted untangles this turbulence: Why The Kinks became the only British group to be banned from America at the height of their success; why original bassist Pete Quaife quit in 1968; Ray Davies’ fraught relationship with Chrissie Hynde; how The Kinks’ later years rehabilitated their reputation in America. Updated to include details of the hit musical Sunny Afternoon and an up-to-the-minute report on the troubled relationship between the Davies brothers, You Really Got Me is the ultimate Kinks biography. “Keen eyed critique of a most contrary band” Uncut “Hasted is illuminating” Guardian
This work tracks every move in the Kinks' career. With the help of band members, Doug Hinman has reconstructed their meteoric rise to fame in the early 60s through its dissolution and revival in the 70s, stadium success in the 80s, and an apparently final breakdown in the late 90s
In August 1964 The Kinks released their third single. After a little noticed debut and a follow-up that had failed to chart at all, Pye Records were threatening to annul the group’s contract. But with its unforgettable distorted guitar riff, 'You Really Got Me’ went on to reach No.1, entering the US Top Ten later the same year. Followed by a string of hits, it marked the breakthrough of one of Britain’s most innovative and influential bands, and a turning point in the fortunes of two brothers whose troubled story is as tumultuous and characterful as the music they produced: Ray and Dave Davies. Born into a deeply musical working-class family in London’s Muswell Hill, Ray and Dave grew up in a city recovering from the bombs and privations of the Second World War. More than any other musicians of the Sixties, they crafted the soundtrack that made it swing again. In songs such as ‘Dedicated Follower of Fashion’, ‘Sunny Afternoon’ – which toppled The Beatles to become the hit of Summer 1966 – ‘Waterloo Sunset’, ‘Days’ and ‘Lola’, they drew on music hall, folk and rhythm and blues to craft a peculiarly English pop idiom, inspiring generations of songwriters from David Bowie to Jarvis Cocker and Damon Albarn. Pocked by sibling rivalry, furious on-stage violence, walkouts, overdoses, a career-throttling ban from the US, gross self-indulgence, and the band's curious rebirth as eighties stadium rockers, the story laid bare in God Save The Kinks is one of the greatest in British pop history.
Musical floodgates were opened after the Beatles' first appearance on The Ed Sullivan Show on February 9, 1964. Suddenly, the U.S. record charts, radio, and television were overrun with British rock and pop musicians. Although this British Invasion was the first exposure many Americans had to popular music from the United Kingdom, British pop — and more specifically British rock and roll — had been developing since the middle of the 1950s. Author James Perone here chronicles the development of British rock, from the 1950s imitators of Elvis Presley and other American rockabilly artists, to the new blends of rockabilly, R&B, Motown, and electric blues that defined the British Invasion as we recognize it today. Die-hard fans of the Beatles, the Who, and the Kinks will all want a copy, as will anyone interested in the 1960s more generally. May 1964 saw major gang-style battles break out in British resort communities between the Mods and the Rockers. The tensions between the two groups had been developing for several years, with each group claiming their own sense of culture and style. The Mods wore designer clothing, rode Vespa motor scooters, and shared an affinity for black American soul music, while the Rockers favored powerful motorcycles, greased-back hair, and 1950s American rock and roll. It was within this context that the sounds of the British Invasion developed. Mods, Rockers, and the Music of the British Invasion chronicles the development of British rock through the iconic artists who inspired the movement, as well as through the bands who later found incredible success overseas. In addition to analyzing the music in the context of the British youth culture of the early 1960s, Perone analyzes the reasons that the British bands came to so thoroughly dominate the record charts and airwaves in the United States. The contributions of Cliff Richard, Billy Fury, Johnny Kidd and the Pirates, Tommy Steele, the Tornados, Tony Sheridan, Blues Incorporated, and others to the development of British rock and roll are examined, as are the contributions and commercial and artistic impact of major British Invasion artists such as the Beatles, the Rolling Stones, the Dave Clark Five, the Yardbirds, Manfred Mann, the Who, the Kinks, and others. After investigating these groups and their influences upon one another, Perone concludes by examining the commercial and stylistic impact British rock musicians had on the American music of the time.
Despite its comparatively small size, England has been a nation of considerable stature on the international stage for much of its history. As the home of parliamentary government, William Shakespeare, and the English language, England has been an influential player in the political and cultural development of nations the world over. The story of England is captured in this compelling volume, which provides an overview of its rich past, remarkable present, and promising future.
The Beatles, the Rolling Stones, the Kinks, the Who, and numerous other groups put Britain at the center of the modern musical map. Please Please Me offers an insider's view of the British pop-music recording industry during the seminal period of 1956 to 1968, based on personal recollections, contemporary accounts, and all relevant data that situate this scene in the economic, political, and social context of postwar Britain. Author Gordon Thompson weaves issues of class, age, professional status, gender, and ethnicity into his narrative, beginning with the rise of British beat groups and the emergence of teenagers as consumers in postwar Britain, and moving into the competition between performers and the recording industry for control over the music. He interviews musicians, songwriters, music directors, and producers and engineers who worked with the best-known performers of the era. Drawing his interpretation of the processes at work during this musical revolution into a wider context, Thompson unravels the musical change and innovation of the time with an eye on understanding what traces individuals leave in the musical and recording process.
As a boy in post-War England, legendary Kinks singer/songwriter Ray Davies fell in love with America âe" its movies and music, its culture of freedom fed his imagination. In Americana, Davies tries to make sense of his long love-hate relationship with the country that both inspires and frustrates him, and where he nearly lost his life in a street shooting. Some of the most fascinating characters in pop culture and the British Invasion make appearances, from the famous to the behind-the-scenes players. The book is interspersed with lyrics and also includes photographs from Davies's own collection and the Kinksâe(tm) archive. From his quintessentially English perspective, Davies âe" with candour, humour, and wit âe" takes us on a very personal road trip through his life and storied career as a rock star, and reveals what music, fame and America really mean to him.
Ray Davies: Not Like Everybody Else is a critical biography of Ray Davies, with a focus on his music and his times. The book studies Davies’ work from the Kinks’ first singles through his 2006 solo album, from his rock musicals in the early 1970s to his one-man stage show in the 1990s, and from his films to his autobiography. Based on interviews with his closest associates, as well as studies of the recordings themselves, this book creates the most thorough picture of Davies’ work to date. Kitts situates Davies’ work in the context of the British Invasion and the growth of rock in the '60s and '70s, and in the larger context of English cultural history. For fans of rock music and the music of the Kinks, this book is a must have. It will finally place this legendary innovator in the pantheon of the great rock artists of the past half-century. Thomas M. Kitts, Professor of English and Chair of the Division of English/Speech at St. John’s University, NY, is the co-editor of Living on a Thin Line: Crossing Aesthetic Borders with The Kinks, the author of The Theatrical Life of George Henry Boker, articles on American literature and popular culture, reviews of books, CDs, and performances, and a play Gypsies. He is the book review editor of Popular Music and Society and the editor of The Mid-Atlantic Almanack.
Of all the great British rock bands to emerge from the 1960s, none had a stronger sense of place than the Kinks. Often described as the archetypal English band, they were above all a quintessentially working-class band with a deep attachment to London, particularly the patch of suburban North London where most of the members grew up. In this illuminating study, Mark Doyle examines the relationship between the Kinks and their city, from their early songs of teenage rebellion to their later album-length works of social criticism, providing a unique perspective on the way in which the band responded to the shifting nature of working-class life. Along the way, he finds fascinating and sometimes surprising connections with figures as diverse as Edmund Burke, John Clare, Charles Dickens, and the Covent Garden Community Association. More than just a book about the Kinks, this is a book about a city, a nation, and a social class undergoing a series of profound, sometimes troubling changes—and about a group of young men who found a way to describe, lament, and occasionally even celebrate those changes through song.