The Kinks – Live At Kelvin Hall (1967)

FrontCover1Live at Kelvin Hall is a 1967/68 live album by British rock group the Kinks. It was recorded at Kelvin Hall in Glasgow, Scotland, in early 1967. The album was released in August 1967 in the US (as The Live Kinks), and January 1968 in the UK. Live at Kelvin Hall received mixed reviews upon release, and sold poorly.

The album was first re-released on CD in 1987. In 1998, the album was reissued with both the mono and stereo mixes present. Unlike many albums in the Kinks catalogue which have received Deluxe Edition formats, Live At Kelvin Hall was passed on by Andrew Sandoval, who, at one point, attempted to remix the album. The mono mix was absent from the 2011 box set The Kinks In Mono, but was present in the 2005 box set The Pye Album Collection.

The Kinks played two sets in the Scene ’67 Theatre inside Kelvin Hall on 1 April 1967; one at 6:30 and the other at 9:30 pm, with the bands Sounds Incorporated and the Fortunes opening. The entire concert was recorded on a 4-track Pye Mobile Recording Unit owned by the group’s label, Pye Records. The Kinks’ set was the finale of a ten-day teen music-festival, sponsored by a local discotheque club and The Daily Record, a Glasgow newspaper.


On 3 April, post-production was underway for the scheduled live album. The group also took part in sessions to “enhance” the recordings—writer Andy Miller notes that …Kelvin Hall “is perhaps not as live as all that. Sessions were undertaken to ‘sweeten’ the original tapes. Close listening seems to reveal that the audience hysteria is an extended, repeating tape loop.” It is also notable that an entire fourth of the 4-track mix was devoted to the crowd’s screams and yells. Doug Hinman, in his 2004 book All Day And All Of The Night, also states that “it appears that overdubs [were] made (noticeable … on the released album’s guitar solo on ‘Till The End Of The Day’, and the differing guitar solos between the mono and stereo mixes of ‘You Really Got Me’).” A press release followed on the same day, announcing that a live album was scheduled for future release.

Live at Kelvin Hall was released in the US as The Live Kinks on 16 August 1967, where it went virtually unnoticed. It stalled at number 162 in the Billboard charts, during a four-week[4] run.[5] The album fared no better in the UK; upon release in January 1968 as Live at Kelvin Hall, it received only moderate advertising and mixed reviews. New Musical Express: “… at Glasgow the Kinks had every encouragement to give a good show and what you can hear above the audience noise is good. I don’t know if I like a backing of whistles and screams.” Live at Kelvin Hall failed to chart. (by wikipedia)


Recorded in Glasgow, Scotland, while the Kinks were on tour in 1967, Live at Kelvin Hall (aka The Live Kinks) has the distinction of being the only undoctored concert recording of a British Invasion band at the peak of its popularity. Like the Stones and the Beatles, the Kinks faced audiences filled with screaming, shrieking teenagers. Often, the noise was so loud that it drowned out the amps on-stage, and since the band couldn’t hear each other, its performances were ragged and rough. The Kinks held together in Glasgow better than their peers, but Live at Kelvin Hall is still rough going. True, it does offer an audio document of the band in concert, but the crowd is so damn noisy, it’s hard to hear anything besides screaming. The band is buried under this cacophony, and while they turn out some energetic performances — not only of hits like “Till the End of the Day,” “You Really Got Me,” and the sing-along “Sunny Afternoon” — they’re just sloppy enough to be a little tiring when combined with the roaring crowd. Live at Kelvin Hall may be interesting as an historical piece to some collectors, but it falls short of being pleasurable listening. (by Stephen Thomas Erlewine)


Mick Avory (drums)
Dave Davies (guitar, backgroundvocals, vocals  on 04., 07. + 09.)
Ray Davies (vocals, guitar)
Pete Quaife (bass, background vocals)

Alternate fromntcovedrs:

01. Till The End Of The Day (R.Davies) 3.32
02. A Well Respected Man (R.Davies) 3.09
03. You’re Lookin’ Fine (R.Davies) 3.36
04. Sunny Afternoon (R.Davies) 4.54
05. Dandy (R.Davies) 2.11
06. I’m On An Island (R.Davies) 2.53
07. Come On Now (R.Davies) 3.58
08. You Really Got Me (R.Davies) 2.16
09. Medley 8.47
09.1. Milk Cow Blues (Estes)
09.2. Batman Theme (Hefti)
09.3. Tired Of Waiting For You (R.Davies)




The Kinks – Muswell Hillbillies (1971)

LPFrontCover1Muswell Hillbillies is an album by the English rock group The Kinks. Released in November 1971, it was the band’s first album for RCA Records. The album is named after the Muswell Hill area of North London, where band leader Ray Davies and guitarist Dave Davies grew up and the band formed in the early 1960s.

The album introduces a number of working class figures and the stresses with which they must contend. It did not sell well but received positive reviews and critical acclaim.

Muswell Hillbillies was the band’s first album for RCA Records, their prior recordings having been released on Pye Records (Reprise Records in the United States). Their contract with Pye/Reprise expired the same year. The album was recorded between August and October 1971 at Morgan Studios, London, using a new brass section, the Mike Cotton Sound, which included Mike Cotton on trumpet, John Beecham on trombone and tuba, and Alan Holmes on clarinet.


The album was not a commercial success (it failed to chart in the United Kingdom and peaked at #48 in the U.S.), and its sales were a disappointment following the success of Lola the previous year. Stereo Review magazine called the poor-selling record “album of the year” in 1972 (even though it was released on 24 November 1971). In the 1984 Rolling Stone Album Guide, Rolling Stone editors gave the album five stars out of five and called it Davies’ “signature statement” as a songwriter. In a retrospective review for Allmusic, Stephen Thomas Erlewine called the album a wide-ranging collection of Ray Davies compositions which focus on the tensions and frustrations of modern life.

The front cover picture was taken in the Archway Tavern, a pub in Archway (more than two miles away from Muswell Hill). The back inset picture, showing the band below a signpost giving directions to Muswell Hill, was taken on the small traffic island at the intersection of Castle Yard and Southwood Lane in Highgate. (by wikipedia)


How did the Kinks respond to the fresh start afforded by Lola? By delivering a skewed, distinctly British, cabaret take on Americana, all pinned down by Ray Davies’ loose autobiography and intense yearning to be anywhere else but here — or, as he says on the opening track, “I’m a 20th century man, but I don’t want to be here.” Unlike its predecessors, Muswell Hillbillies doesn’t overtly seem like a concept album — there are no stories as there are on Lola — but each song undoubtedly shares a similar theme, namely the lives of the working class. Cleverly, the music is a blend of American and British roots music, veering from rowdy blues to boozy vaudeville. There’s as much good humor in the performances as there are in Davies’ songs, which are among his savviest and funniest.


They’re also quite affectionate, a fact underpinned by the heartbreaking “Oklahoma U.S.A.,” one of the starkest numbers Davies ever penned, seeming all the sadder surrounded by the careening country-rock and music hall. That’s the key to Muswell Hillbillies — it mirrors the messy flow of life itself, rolling from love letters and laments to jokes and family reunions. Throughout it all, Davies’ songwriting is at a peak, as are the Kinks themselves. There are a lot of subtle shifts in mood and genre on the album, and the band pulls it off effortlessly and joyously. Regardless of its commercial fate, Muswell Hillbillies stands as one of the Kinks’ best albums. (by Stephen Thomas Erlewine)


Mick Avory (drums, percussion)
John Dalton (bass guitar, background vocals)
Dave Davies (lead guitar, slide guitar, banjo, background vocals)
Ray Davies (vocals, guitar)
John Gosling  (keyboards, accordion)
John Beecham (trombone, tuba)
Vicki Brown (background vocals on 04. + 09.)
Mike Cotton (trumpet)
Alan Holmes (saxophone, clarinet)
Ken Jones (harmonica on 07.)


01. 20th Century Man 5.58
02. Acute Schizophrenia Paranoia Blues 3.33
03. Holiday 2.40
04. Skin And Bone 3:39
05. Alcohol 3.36
06. Complicated Life 4.03
07. Here Come The People In Grey 3.46
08. Have A Cuppa Tea 3.45
09. Holloway Jail 3.29
10. Oklahoma U.S.A. 2.39
11. Uncle Son 2.33
12. Muswell Hillbilly 4.59
13. Mountain Woman 3.09
14. Kentucky Moon (demo) 3.55

All songs written by Ray Davies.




More from The Kinks:


The Kinks – Live At The Fillmore West (1969)

KinksFrontCover1This gem is one of the few available shows from this time period, probably the most productive of their career (coming on the heels of arguably their best albums, Village Green Preservation Society and Arthur, both of which were complete failures in the U.S.). This show was one of their first in the States after the ban barring them from appearing in the U.S. was lifted (after almost 4 years!). The exact reason for the ban by the American Federation of Musicians was never made quite clear (even to this day), but Ray and the boys did not perform in the U.S from 1966 through most of 1969. Anyway, here in their appearance at the the Fillmore West, the band was in fine form, and they delivered a very eclectic set that scattered some of their hits (‘Tired of Waiting’, ‘You Really Got Me’, ‘Till the End of the Day’, ‘Well-Respected Man’) with numerous relatively obscure album tracks (‘Your Looking Fine’, ‘Big Sky’, ‘Mr. Churchill Says’, ‘Brainwashed’, etc), that were virtually unknown in the U.S., and were not often performed in concert in subsequent years. So enjoy this unique taste of ’60’s-era Kinks. (

Quality is so-so but I still love this recording. The Kinks are playing raw garage rock. If you imagine a less polished “Live At Kelvin Hall” minus the screaming you get the idea! The track listing (see below) is superb. By the early 70’s the Kinks went a bit too MOR/cabaret for me at times. This is their last period of being a proper rock band live until they reinvented themselves in the late 70s. An important show to track down for Kinks fans. (by bigbullyweedave)


Mick Avory (drums)
John Dalton (bass)
Dave Davies (guitar, vocals)
Ray Davies (vocals, guitar, harmonica)

Alternate front covers

01. Till The End Of The Day (R.Davies) 1.53
02. Mindless Child Of Motherhood (D.Davies) 3.25
03. Last Of The Steam Powered Trains (R.Davies) 6.24
04. You’re Looking Fine (R.Davies) 6.50
05. Mr. Churchill Says (R.Davies) 4.22
06. Big Sky (R.Davies) 3.11
07. You Really Got Me/All Day And All Of The Night (R.Davies) 3.41
08. Love Me Till The Sun Shines (D.Davies) 5.40
09. Brainwashed (R.Davies) 1.10
10. Medley 1 / 9.34
10.1. Milk Cow Blues (Estes)
10.2. See My Friend (R.Davies)
10.3. Tired Of Waiting For You (R.Davies)
10.4. Brainwashed (R.Davies)
11. Louie Louie (Berry) 3.58
12. Victoria (R.Davies) 3.11
13. Medley 2 / 3.04
13.1. Well Respected Man (R.Davies)
13.2. Death Of A Clown (D.Davies)
13.3. Dandy (R.Davies)

TheKinks1969The Kinks, live in 1969


The Kinks – Something Else By The Kinks (1967)

FrontCover1.jpgSomething Else by The Kinks, often referred to as just Something Else, is the fifth UK studio album by The Kinks, released in September 1967. It marks the final involvement of American producer Shel Talmy in the Kinks’ 1960s studio recordings; henceforth Ray Davies would produce recordings. Many of the recordings feature the keyboard work of Nicky Hopkins and the backing vocals of Ray’s wife, Rasa. Two hit singles are included: “Waterloo Sunset” and “Death of a Clown”. In 2012, the album was ranked #289 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

As Ray Davies had assumed control over production after the departure of Shel Talmy, Something Else marked a change in the sound and production style of the Kinks. He felt unsure of his skill in mixing and recording their records and later commented, “I feel that I shouldn’t have been allowed to produce Something Else. What went into an album required someone whose approach was a little bit more mundane”.

Apart from “End of the Season”, the album was recorded between the autumn of 1966 and the summer of 1967, when the Kinks had cut back on touring and had begun recording and stockpiling songs for Ray’s as-yet poorly defined “village green” project. The song “Village Green” was recorded in November 1966 during the sessions for the album but was released on a French EP in 1967 and did not appear on a Kinks LP until the next release, The Kinks Are the Village Green Preservation Society.

Ray’s lyrics on the album deal with English-inspired subject matter, including the harpsichord-laden “Two Sisters”, the lazy shuffle “End of the Season”, and the sardonic “David Watts”.


The album includes three songs composed by Dave Davies, including the hit single “Death of a Clown”.

The album sold poorly in the UK, in part because it competed with budget-priced compilation albums of early Kinks hits from 1964–1966; also, Pye Records had released “Waterloo Sunset”, “Death of a Clown” and other songs before the album appeared. Something Else also sold poorly in the US upon release in January 1968 where the group was still the subject of a US ban on live and television performances.

James Pomeroy, in a March 1968 review in Rolling Stone, felt it was the best album the Kinks had made to that point, praising the “humor, cynicism, perception and irony” where he felt the band are at their best. He picked out “David Watts” and “Waterloo Sunset” as the best tracks, and also praised the three contributions of Dave Davies.

In a retrospective review for AllMusic, Stephen Thomas Erlewine felt that the “nostalgic and sentimental” songwriting are key, and that part of “the album’s power lies in its calm music, since it provides an elegant support for Davies’ character portraits and vignettes”.

In 2003, Something Else was ranked #288 on Rolling Stone’s list of the 500 greatest albums of all time. (by wikipedia)


Face to Face was a remarkable record, but its follow-up, Something Else, expands its accomplishments, offering 13 classic British pop songs. As Ray Davies’ songwriting becomes more refined, he becomes more nostalgic and sentimental, retreating from the psychedelic and mod posturings that had dominated the rock world. Indeed, Something Else sounds like nothing else from 1967. The Kinks never rock very hard on the album, preferring acoustic ballads, music hall numbers, and tempered R&B to full-out guitar attacks. Part of the album’s power lies in its calm music, since it provides an elegant support for Davies’ character portraits and vignettes. From the martial stomp of “David Watts” to the lovely, shimmering “Waterloo Sunset,” there’s not a weak song on the record, and several — such as the allegorical “Two Sisters,” the Noël Coward-esque “End of the Season,” the rolling “Lazy Old Sun,” and the wry “Situation Vacant” — are stunners. And just as impressive is the emergence of Dave Davies as a songwriter. His Dylanesque “Death of a Clown” and bluesy rocker “Love Me Till the Sun Shines” hold their own against Ray’s masterpieces, and help make Something Else the endlessly fascinating album that it is. (by Stephen Thomas Erlewine)


Mick Avory (drums, percussion)
Dave Davies – lead guitar, 12 string guitar, background vocals, vocals (on 02., 08. + 11.)
Ray Davies 8vocals, rhythm guitar, harmonica, harp, harpsichord, organ, tuba, maracas9
Pete Quaife (bass, background vocals)
Rasa Davies (background vocals)
Nicky Hopkins (keyboards)

01. David Watts (R.Davies) 2.33
02. Death Of A Clown (D.Davies/R. Davies) 3.04
03. Two Sisters (R.Davies) 2.02
04. No Return (R.Davies) 2.03
05. Harry Rag (R.Davies) 2.17
06. Tin Soldier Man (R.Davies) 2.49
07. Situation Vacant (R.Davies) 3.17
08. Love Me Till the Sun Shines (D. Davies) 3.16
09. Lazy Old Sun (R.Davies) 2.49
10, Afternoon Tea (R.Davies) 3.27
11. Funny Face (D. Davies) 2.18
12. End Of The Season (R.Davies) 2.58
13. Waterloo Sunset (R.Davies) 3.16
14. Act Nice And Gentle (R.Davies) 2.39
15. Autumn Almanac (R.Davies) 3.06
16. Susannah’s Still Alive (D. Davies) 2.22
17. Wonderboy (R.Davies) 2.49
18. Polly (R.Davies) 2.52
19. Lincoln County (D. Davies) 3.12
20. There Is No Life Without Love (D. Davies/R. Davies) 2.02
21. Lazy Old Sun (Unreleased alternate stereo take) (R.Davies) 2.53



More from The Kinks



The Kinks – The Village Green Preservation Society (1968) (Special Deluxe Edition 2004)

FrontCover1.jpgThe Kinks Are the Village Green Preservation Society is the sixth studio album by the English rock group the Kinks, released in November 1968. It was the last album by the original quartet (Ray Davies, Dave Davies, Pete Quaife, Mick Avory), as bassist Pete Quaife left the group in early 1969. A collection of vignettes of English life,[3] The Kinks Are the Village Green Preservation Society was assembled from songs written and recorded over the previous two years.

Although the record is widely considered one of the most influential and important works by the Kinks, it failed to chart upon release, selling about 100,000 copies. In 2003 the album was ranked number 255 on Rolling Stone magazine’s list of the 500 greatest albums of all time. (by wikipedia)

Ray Davies’ sentimental, nostalgic streak emerged on Something Else, but it developed into a manifesto on The Village Green Preservation Society, a concept album lamenting the passing of old-fashioned English traditions. As the opening title song says, the Kinks — meaning Ray himself, in this case — were for preserving “draught beer and virginity,” and throughout the rest of the album, he creates a series of stories, sketches, and characters about a picturesque England that never really was. It’s a lovely, gentle album, evoking a small British country town, and drawing the listener into its lazy rhythms and sensibilities.

The Kinks

Although there is an undercurrent of regret running throughout the album, Davies’ fondness for the past is warm, making the album feel like a sweet, hazy dream. And considering the subdued performances and the detailed instrumentations, it’s not surprising that the record feels more like a Ray Davies solo project than a Kinks album. The bluesy shuffle of “Last of the Steam-Powered Trains” is the closest the album comes to rock & roll, and Dave Davies’ cameo on the menacing “Wicked Annabella” comes as surprise, since the album is so calm. But calm doesn’t mean tame or bland — there are endless layers of musical and lyrical innovation on The Village Green Preservation Society, and its defiantly British sensibilities became the foundation of generations of British guitar pop. (by Stephen Thomas Erlewine)


Mick Avory (drums, percussion)
Dave Davies (guitar, background vocals, lead vocals on “Wicked Annabella”)
Ray Davies (vocals, guitar, keyboards, harmonica, saxophone, trumpet, trombone, accordion, oboe, flute)
Pete Quaife (bass, baclground vocals)
Rasa Davies (background vocals)
Nicky Hopkins (keyboards, mellotron)



CD 1:
01. The Village Green Preservation Society 2.45
02. Do You Remember Walter? 2.23
03. Picture Book 2:34
04. Johnny Thunder 2.28
05. Last Of The Steam-Powered Trains 4.03
06. Big Sky 2.49
07. Sitting By The Riverside 2.21
08. Animal Farm 2.57
09. Village Green 2.08
10. Starstruck 2.18
11. Phenomenal Cat (spelled “Phenominal Cat” on the LP sleeve) 2.34
12. All Of My Friends Were There 2.23
13. Wicked Annabella 2.40
14. Monica 2.13
15. People Take Pictures Of Each Other 2.10
16. Mr. Songbird (from 12 Track Edition) 2.24
17. Days (stereo mix from original 12-track edition released in France, Norway and Sweden) 2.53
18. Do You Remember Walter? (stereo mix from original 12-track edition released in France, Norway and Sweden) 2.25
19. People Take Pictures Of Each Other (stereo mix from original 12-track edition released in France, Norway and Sweden) 2.24


CD 2:
01. The Village Green Preservation Society 2.45
02. Do You Remember Walter? 2.23
03. Picture Book 2:34
04. Johnny Thunder 2.28
05. Last Of The Steam-Powered Trains 4.03
06. Big Sky 2.49
07. Sitting By The Riverside 2.21
08. Animal Farm 2.57
09. Village Green 2.08
10. Starstruck 2.18
11. Phenomenal Cat (spelled “Phenominal Cat” on the LP sleeve) 2.34
12. All Of My Friends Were There 2.23
13. Wicked Annabella 2.40
14. Monica 2.13
15. People Take Pictures Of Each Other 2.10
16. Days (single mix, mono) 2.55
17. Mr. Songbird (mono mix) 2.25
18. Polly (single mix, mono) 2.51
19. Wonderboy (single mix, mono) 2.49
20. Berkeley News (single mix, mono) 2.36
21. Village Green (with alternate doubled vocals) 2.13


CD 3 (Rarities):
01. Village Green (with orchestra overdub, previously unreleased) 2.22
02. Misty Water (stereo) 3.05
03. Berkeley Mews (stereo) 2:40
04. Easy Come, There You Went (stereo, previously unreleased) 2.25
05. Polly (stereo) 2:52
06. Animal Farm (alternate stereo mix, previously unreleased) 3.02
07. Phenomenal Cat (mono instrumental, previously unreleased) 2.50
08. Johnny Thunder (stereo remix from the original multi-track tapes, previously unreleased) 2.36
09. Did You See His Name (mono mix, previously unreleased) 2.00
10. Mick Avory’s Underpants (previously unreleased) 2.19
11. Lavender Hill 2.56
12. Rosemary Rose 1.44
13. Wonderboy 2.44
14. Spotty Grotty Anna 2.07
15. Where Did My Spring Go 2.11
16. Groovy Movies 2:34
17. Creeping Jean (previously unreleased longer stereo mix, with some minor overdubbing missing) 3.12
18. King Kong 3.26
19. Misty Water (mono, previously unreleased) 3.12
20. Do You Remember Walter (BBC session remix, previously unreleased) 2.17
21. Animal Farm (BBC session remix, previously unreleased) 2.56
22. Days (BBC session remix, previously unreleased) 3.02

All songs written by Rax Davies, except “Creeping Jean” which was written by Dave Davies




The Kinks – Paranoia & Destroyer (1988)

TheKinksFrontCover1Jim Rodford, a founding member of Argent and bassist for the Kinks and the Zombies, died last Saturday at the age of 76.

Rodford’s cousin and longtime band mate Rod Argent confirmed Rodford’s death on the Zombies’ Facebook page, with Argent adding that Rodford died Saturday following “a fall on the stairs.”

“Jim was not only a magnificent bass player, but also from the first inextricably bound to the story of The Zombies. An enormous enabler for us,” Argent wrote in his long tribute to Rodford. “To the end, Jim’s life was dedicated to music. He was unfailingly committed to local music – an ever present member of the local scene in St.Albans, where he had spent his whole life.”

The Kinks, who recruited Rodford following bassist John Dalton’s permanent exit from the band in 1978, also paid tribute to Rodford on Twitter. “It is with deep sadness that we have learned that Jim Rodford passed away – he toured and recorded with the Kinks for many years and will be greatly missed. He was much loved by all of us,” the band wrote.

Jim Rodford02

Rodford spent 18 years as the Kinks’ bassist, performing on every album from 1979’s Low Budget to 1993’s Phobia, the band’s final LP before their breakup three years later.

As Argent wrote in his tribute to his cousin, Rodford was the first musician Argent attempted to add to his then-fledgling Zombies, but the bassist ultimately turned down the job since he was already a member of the popular British band the Bluetones. However, Rodford was instrumental in the development of the Zombies, lending the group the Bluetones’ equipment, orchestrating the Zombies’ early shows and “passing judgment” on their breakout 1964 single “She’s Not There,” penned by Argent.

Rodford also served as bassist in the Mike Cotton Sound before the Zombies’ initial breakup in 1967; two years later, Argent would finally unite with his cousin to co-found Argent alongside drummer Bob Henrit and singer/guitarist Russ Ballard. Rodford would appear on all seven Argent albums – including the band’s best-known song “Hold Your Head Up” – before that band dissolved in 1976.

Jim Rodford03.jpg

Two years later, Rodford embarked on his nearly two-decade-long tenure with the Kinks. Dave Davies tweeted of Rodford Saturday, “I’m devastated Jim’s sudden loss I’m too broken up to put words together it’s such a shock I always thought Jim would live forever in true rock and roll fashion – strange – great friend great musician great man – he was an integral part of the Kinks later years.”

Rodford also played bass in the Kast Off Kinks, a group made up of Kinks expats like Mick Avory and Ian Gibbons, beginning in the late 2000s.

Over 40 years after he was first asked, Rodford finally joined the Zombies when Argent and singer Colin Blunstone revived the band in 2004; Rodford and his son, drummer Steve Rodford, remained members of the Zombies’ touring unit until the bassist’s death. Rodford also appeared on the group’s 2015 comeback LP Still Got That Hunger.

Argent continued in his tribute to Rodford, “Jim was a wonderful person, loved by everybody. When Colin [Blunstone] and I, shocked and hardly able to talk, shared the news this morning, Colin said ‘I’ve never heard anyone say a bad word about him…’ He will be unbelievably missed. Goodnight and God Bless dear friend.” (by Rolling Stone)

And here´s a rare and brilliant Kinks Radio Show (recorded for the legendary Westwood One label) …

Jim Rodford04

Recorded live At The Fox Theatre, St. Louis, Missouri, 14 April 1988
(Excellent FM broadcast)


Alternate front+back cover

Dave Davies (guitar, vocals)
Ray Davies (vocals, guitar)
Ian Gibbons (keyboards)
BobHenrit (drums)
Jim Rodford (bass, vocals)

Jim Rodford05

01. Destroyer 5.26
02. Low Budget 5.46
03. Apeman 5.12
04. Sleepwalker 2.48
05. Art Lover 7.50
06. Come Dancing 4.06
07. Sleepwalker  4.04
08. Welcome To Sleezy Town 7.56
09. Think Visual 3.33
10. Living On A Thin Line 4.27
11. A Well Respected Man 1.58
12. It (She Wants It) 9.23
13. Guilty 4.40
13. All Day And All Of The Night
14. You Really Got Me 3.56
15. Celluloid Heroes 5.46
16. Lola 9.35

All songs written by Ray Davies, except “Living On A Thin Line” and “Guilty” which was written by Dave Davies
Jim Rodford06

And here´s the best live version of “All Day And All Of The Night” (featuring Jim Rodford):


Jim Rodford07

James Walter Rodford (7 July 1941 – 20 January 2018)

The Kinks – The Kink Kontroversy (1965)


The Kink Kontroversy is the third studio album by English rock band The Kinks, released on 26 November 1965. It is a transitional work, with elements of both the earlier Kinks’ styles (heavily blues-influenced songs such as “Milk Cow Blues”, and variations on the band’s hits from 1964-65 such as “Till the End of the Day”) and early indications of the future direction of Ray Davies’ songwriting styles (“The World Keeps Going Round” and “I’m On an Island”).The Kink Kontroversy is the third studio album by English rock band The Kinks, released on 26 November 1965. It is a transitional work, with elements of both the earlier Kinks’ styles (heavily blues-influenced songs such as “Milk Cow Blues”, and variations on the band’s hits from 1964-65 such as “Till the End of the Day”) and early indications of the future direction of Ray Davies’ songwriting styles (“The World Keeps Going Round” and “I’m On an Island”).

The album’s title is a mocking reference to the notorious reputation the band had developed over the previous year, including onstage fights and concert riots in Europe, which led to a ban on the group’s concerts in the US.

American singer Bobby Rydell covered “When I See That Girl of Mine”, which was released as a single in the US a full month before the Kinks’ version was made public.

The single “Till the End of the Day” was a major hit, reaching #8 in the UK and #50 in the US, spending eight weeks or more in each chart. (by wikipedia)


The Kinks came into their own as album artists — and Ray Davies fully matured as a songwriter — with The Kink Kontroversy, which bridged their raw early British Invasion sound with more sophisticated lyrics and thoughtful production. There are still powerful ravers like the hit “Til the End of the Day” (utilizing yet another “You Really Got Me”-type riff) and the abrasive, Dave Davies-sung cover of “Milk Cow Blues,” but tracks like the calypso pastiche “I’m on an Island,” where Ray sings of isolation with a forlorn yet merry bite, were far more indicative of their future direction. Other great songs on this underrated album include the uneasy nostalgia of “Where Have All the Good Times Gone?,” the plaintive, almost fatalistic ballads “Ring the Bells” and “The World Keeps Going Round,” and the Dave Davies-sung declaration of independence “I Am Free.” (by Richie Unterberger)

In other words: Won´t you tell me … where have all the good times gone …

The Kinks … one of the finest groups from the classic beat period in the Sixites !


Mick Avory (drums on 01., 02. + 09., percussion)
Dave Davies (guitar, vocals on 01., 05., 11., 12.)
Ray Davies (vocals, guitar, harmonica)
Pete Quaife (bass, background vocals)
Clem Cattini (drums, 03. + 08., 10. – 12.)
Rasa Davies (background vocals)
Nicky Hopkins (keyboards)
Shel Talmy (guitar on 10.)


01. Milk Cow Blues (Estes) 3.45
02. Ring The Bells (R.Davies) 2.22
03. Gotta Get the First Plane Home (R.Davies) 1.50
04. When I See That Girl Of Mine (R.Davies) 2.13
05. I Am Free (D.Davies) 2.32
06. Till The End Of The Day (R.Davies) 2.22
07. The World Keeps Going Round (R.Davies) 2.37
08. I’m On An Island (R.Davies) 2.19
09. Where Have All The Good Times Gone (R.Davies) 2.54
10. It’s Too Late (R.Davies) 2.37
11. What’s In Store For Me (R.Davies) 2.07
12. You Can’t Win (R.Davies) 2.43
13. Dedicated Follower Of Fashion (R.Davies) 3.05
14. Sittin’ On My Sofa (R.Davies) 3.08
15. When I See That Girl Of Mine (demo version) (R.Davies) 2.02
16. Dedicated Follower Of Fashion (alternate stereo take) 3.01 (R.Davies) 3:01



Peter Seeger – Kinks – The Complete CD Catalogue (1991)

KinksCDCatalogue01AThis is another rare item from my fanzine collection.

This is a German fanzine (so  the introduction is written in German !) and it´s a Kinks CD only discography (including bootlegs) from the year 1991.

The Kinks ? No introduction necessary !

I can´t find any informations about this discography in the web, so I guess, it´s a very, very rare collectors edition.

I met the author, Peter Seeger (yes, this is his real name, not a fake !) many times and he was a real music and record lover and, of course a real great Kinks fan. And a real nice guy !

Okay, enjoy this little crazy fanzine … brought to you by this little crazy blog.

Here some preview pics:




The Kinks – One For The Road (1980)

FrontCover1After fifteen years, founding Kinks members Ray and Dave Davies boast a nearly unique record of sustained combat in the guitar army. Like their peers in the Who and the Rolling Stones, they know that such longevity only makes them more vulnerable. All three bands must constantly face down their seniority — what if you gave a grand rock gesture and nobody came? — because they’re perched so visibly in the pantheon.

One for the Road — a cleaned-up, carefully sequenced culling of live Kinks performances from six American cities and Zurich, Switzerland — succeeds in sounding like a single night’s work. It argues that experience can keep you alive in the trenches — as long as you keep moving. Using few overdubs and a minimum of talky transitions between cuts, the Kinks show their smarts by being very straightforward.

TheKinksLive01Ray Davies could be pretty fashionable now, but it’d be the kind of fashionableness he excoriates here in “Prince of the Punks.” He’s not the sort who’d mention that artists as au courant as the Pretenders (“Stop Your Sobbing”), the Jam (“David Watts”) and David Bowie (“Where Have All the Good Times Gone”) have all covered compositions that the Kinks reclaim on this double LP. Why bother, when you’ve already begun the album by pinning everybody’s ears back with 103 seconds of string-popping instrumental intensity known the world over as “You Really Got Me”?

BackCover1Sputtering feedback left and right. Dave Davies rips the wadding off “You Really Got Me” to uncover a snake charmer’s melody line under the crunchingly familiar riff. Throughout the record, the Kinks vivisect their own classics to make them sound fresh. “Till the End of the Day,” for example, gets a ska treatment that seems to rise organically from the original.

One for the Road isn’t anything like The “Live” Kinks, a 1968 LP that had the blood-sloppy grandeur of an lggy Pop bootleg and was accurately pegged by critic Nik Cohn as “amphetamine rage.” It’s not like 1972’s Everybody’s in Showbiz either. At that time, Ray Davies was such a brokenhearted clown that he filled the in-concert half of the disc with Noel Coward-style posturings and suffocating campiness. Happily, the new album’s bywords are control and momentum. One for the Road doesn’t catalog Davies’ psychic maladies (though “National Health” pivots on the starkly downbeat lines. “Valium helps me for a while But somehow Valium always seems to bring me down”). Instead, it’s a shake-yer-booty record whose connective tissue is Mick Avory’s earnest, rock-steady drumming.

Even “Celluloid Heroes” is transformed from the plodding set piece it’d become onstage into a finely felt recital with a tough new guitar intro capped by poignant synthesizer trills. “Stop Your Sobbing” picks up on the Pretenders’ Phil Spector-like stylings by including an unmistakable cop from “Then He Kissed Me.”

Booklet-2AKinks concerts, once the chanciest of propositions, now have the friskiness and precision of One for the Road as a model with which to be compared.

Perhaps the single biggest factor in the resurgence of the Kinks as a hot live act has been Dave Davies. Except for a period during the early Seventies when he sulked on stacked heels while older brother Ray camped it up, Dave has always been the epitome of a ripped-pants, skin-it-back, roadhouse Johnny B. Goode. On his first solo album, AFLI-3603, Dave Davies finally gets a chance to see where his own extravagant tastes might lead him. His wryness has often threatened to turn brutal, so naming the LP after its catalog number (with a blown-up universal pricing code replacing the artist’s portrait on the front cover) is an entirely characteristic bit of social comment.

Dave Davies’ lyrics reveal a man contrary and anarchic to a degree that would probably have shaken up 1976’s most antipro-grammatic punk. He matches a hip-socking Eddie Cochran guitar style to the barbaric vocal yawp of Little Richard. It’d take a long time to explain the pulse acceleration that hits me when Dave drops a couple of random power chords into his torrid treatment of “Nothin’ More to Lose”: “Well if we’re all so clever and technology rules/Why is it we’re so scared/I got a rocking psychosis/And my juke box has blown a fuse.”

Booklet-6AThough this Dave Davies-dominated disc (besides producing, he plays most of the instruments throughout) boasts the trebly echo and buzz-bomb dynamics of heavy metal, it’s really the cat-in-heat, rockabilly hiccuping that Dave displays in songs like “Move Over” that makes AFLI-3603 so distinctive in its honest frenzy.

The Kinks have gone over the top once more — Dave, particularly, sticking his neck out — and gained ground when they could have been left holding their entrails. Does this make 1980, at last, the band’s big fiscal year? After fifteen years of konspicuous Kinks kourage. I’d have to say that it doesn’t really matter. (by Fred Schruers, Rolling Stone)

Mick Avory (drums)
Dave Davies (guitar, background vocals)
Ray Davies (vocals, guitar)
Ian Gibbons (keyboards, background vocals)
Jim Rodford (bass, background vocals)
Mick Newell (keyboards)

01. Opening 1.43
02. The Hard Way 2.42
03. Catch Me Now I’m Falling 4.49
04. Where Have All the Good Times Gone 2.16
05. Introduction to Lola 0.44.
06. Lola 4.57
07. Pressure 1.31
08. All Day And All Of The Night 3.45
09. 20th Century Man 6.17
10. Misfits3.38
11. Prince Of The Punks  3.48
12. Stop Your Sobbing 2.31
13. Low Budget 6.04
14. Attitude 3.52
15. (Wish I Could Fly Like) Superman 6.28
16. National Health 4.08
17. Till The End Of The Day 2.42
18. Celluloid Heroes 7.22
19. You Really Got Me 3.35
20. Victoria 2.34
21. David Watts 2.04

All song written by Ray Davies


The Kinks – Misfits (1978)

FrontCover1The Kinks became arena rockers with Sleepwalker, and its follow-up, Misfits, follows in the same vein, but it’s a considerable improvement on its predecessor. Ray Davies has learned how to write within the confines of the arena rock formula, and Misfits is one of rock & roll’s great mid-life crisis albums, finding Davies considering whether he should even go on performing. “Misfits,” a classic outsider rallying cry, and “Rock and Roll Fantasy” provide the two touchstones for the album — Davies admits that he and the Kinks will never be embraced by the rock & roll mainstream, but after Elvis’ death, he’s not even sure if rock & roll is something for mature adults to do. Over the course of Misfits, he finds answers to the question, both in his lyrics and through the band’s muscular music. Eventually, he discovers that it is worth his time, but the search itself is superbly affecting — even songs like the musichall shuffle “Hay Fever,” which appear as filler at first, have an idiosyncratic quirk that make them cut deeper. Although Ray would return to camp on their next album, Misfits is a moving record that manages to convey deep emotions while rocking hard. The Kinks hadn’t made a record this good since Muswell Hillbillies. —Stephen Thomas Erlewine, Rovi

Mick Avory (drums)
Dave Davies (guitar, vocals on 09.)
Ray Davies (vocals, guitar, piano, synthesizer)
John Gosling (keyboards, synthesizer)
Andy Pyle (bass)
John Beecham (trombone on 07.)
Clem Cattini (drum overdubs)
Mike Cotton (trumpet on 07.)
John Dalton (bass on 05.)
Zaine Griff (bass overdubs)
Ron Lawrence (bass on 03., 04 + 10.)
Nick Newall (clarinet on 07.)
Nick Trevisick – drums on 04., 09. + 10.)

01. Misfits (R.Davies) 4.40
02. Hay Fever (R.Davies) 3.21
03. Live Life (R.Davies) 3.09
04. A Rock ‘N’ Roll Fantasy (R.Davies) 4.58
05. In A Foreign Land (R.Davies) 3.02
06. Permanent Waves (R.Davies) 3.48
07. Black Messiah (R.Davies) 3.23
08. Out Of The Wardrobe (R.Davies) 3.35
09. Trust Your Heart (D.Davies) 4.10
10. Get Up (R.Davies) 3.19