Counting down the Kinks 15 greatest songs

As someone who grew up during the Swinging Sixties, I have to say that the Kinks were one of my favorite bands. Their music perfectly captured the spirit and energy of that era. From their early rock and roll hits like “You Really Got Me” to their later masterpieces like “Waterloo Sunset,” the Kinks had a unique ability to blend catchy melodies with incisive lyrics.

In the early 1960s, England saw a flood of music, and The Kinks were part of this wave. They were surrounded by groups like the Beatles, Rolling Stones, Who, Hollies, Dave Clark Five, Gerry and the Pacemakers, and many more. Together, these bands took over the pop music scene from 1963 to 1965, leaving an indelible mark that forever changed popular music.

Among all bands, none spanned as diverse genres as The Kinks did. Their debut album, titled simply Kinks (1964), showcased a unique mix of classic R&B, rockabilly, and even hints of early punk music. In fact, their pioneering work in these areas has led some to claim they were instrumental in the development of punk and metal. However, as the 60’s drew to a close, The Kinks took a turn in a completely different direction. Instead of pushing boundaries, they chose to reflect on the past, both musically by embracing the style of music hall, and lyrically by painting a nostalgic picture of old England, an idealized version of times gone by.

In a different approach, The Kinks pushed the limits by exploring themes beyond what others were doing in their music. While not the pioneers of the “concept album,” they significantly expanded its scope as the decades changed. Their songs delved deeper than most contemporary bands, tackling topics like politics, history, and societal trends.

The 15 greatest songs by the Kinks

The diverse style of The Kinks kept them from disappearing like other bands during the ’60s. They were quite popular, though not quite at Beatles’ level, but still significant. By 1970, they had more than a dozen top-ten hits in the UK, with multiple number-ones. Their success in the US wasn’t as massive, but they still made it into the US top twenty with six singles. However, around the start of the ’70s, their commercial success seemed to dwindle.

However, amazingly enough, when the ’80s arrived, the Kinks were back with fresh hits. Although they didn’t achieve the same level of success or impact as their ’60s songs did, their music was undeniably compelling. By the time they disbanded in 1993, they had produced a total of 24 albums. With only a few rare exceptions, all their albums made it onto Billboard’s top 200 chart.

A significant part of their diverse style is attributed to their primary songwriter and vocalist, Ray Davies. Known for his wit, he stands as one of the sharpest British writers in the latter half of the 20th century. If he had been born a few decades earlier – an idea that’s hard to envision him not contemplating – he might have been W.S. Gilbert or P.G. Wodehouse. By blending his literary prowess with a keen ear for melody, he consistently churned out hit after hit.

However, Ray significantly profited from having the guitarist by his side. It was Ray’s younger brother Dave who kept a significant portion of The Kinks’ music rooted in classic R&B rock. On their initial album, it is Dave’s voice that kicks off, powerfully rendering a cover of Chuck Berry’s “Beautiful Delilah.” Ray then proceeds with an original composition, seemingly embracing the Chuck Berry rhythm and blues feel as well.

By the close of our debut album, Ray’s versatility started shining through in the heartfelt romance of “Stop Your Sobbing.” Unfortunately, this tune isn’t on the ensuing list since, to be honest, the Kinks’ minimalist arrangements didn’t quite capture its full potential at that time. The Pretenders would give it a more powerful treatment, but even in our early days, it was clear we had the ability to compose exceptional songs that transcended the influence of Chuck Berry.

Over the past three decades, I’ve been captivated by the diverse music catalog of this remarkable English band, the Kinks. Ranging from raw, primal rock tunes to refined throwbacks that echo the past, their repertoire is as varied as it gets – from witty and sarcastic to tender and heartfelt. The Kinks never fail to deliver a mix of sounds that keeps me coming back for more.

15. “Get Back in Line” (1970)

As a devoted fan, I’d admit that the title “Lola Versus Powerman and the Moneygoround, Part One” was quite unusual, even a bit pompous. Yet, it birthed some of the band’s most profound music. Skipping over catchy numbers like “Powerman” and the theatrically snobbish “Apeman,” as well as the epic, nostalgic ballad “A Long Way From Home,” I choose instead to focus on this melancholic tune that mirrors the trapped existence of British union musicians – a rat in a cage, so to speak.

Initially, the tune starts off modestly, gradually expanding in complexity with John Gosling’s Hammond organ steering the melody. This track is one of those heartrendingly beautiful songs that Ray Davies excels at. Although he sometimes veers towards being didactic and self-important, here he maintains a straightforward, moving, and poignant tone.

14. “Better Things” (1981)

“One of the Kinks’ last top-50 hits was a song titled “Better Things,” which showed a softer side of Ray Davies, indicating he was prepared to set aside his characteristic wit and satire for the moment. The opening keyboard introduction by Ian Gibbons sets a positive tone, as this is as optimistic as Davies’ music would become.”

As a fan, I can’t agree more! Ray doesn’t shy away from acknowledging the past, expressing hope that “The days ahead won’t taste as bitter as the ones behind you.” Yet, he encourages an optimistic outlook, saying “Be an optimist instead, and somehow happiness will find its way to you.” And true to form, he emphasizes the power of music as a healing balm, subtly wrapped in the three-minute pop song format. It’s comfort food for the soul!

13. “David Watts” (1967)

In 1970, The Kinks produced a well-known rock song about sexual identity, a topic that was not unfamiliar to Ray Davies. Three years prior, he initiated their album “Something Else by the Kinks” with a tune that seemed innocent but contained undertones of homoeroticism, stemming from schoolboy envy.

Nicky Hopkins comes in on keyboards and propels the song forward with a sprightly, rhythmic trot. Later, Ray expresses his admiration for the school captain, repeating the chorus “If I could be like David Watts.” Unlike Paul Simon’s “Richard Cory,” this doesn’t delve into darkness. Instead, Ray maintains a cheerful tone, but the teenage yearning is evident and pulsating.

12. “Come Dancing” (1982)

As a devoted fan, I can’t help but reflect on how “Come Dancing” stood out as the ultimate anthem, marking a significant peak in Ray’s illustrious career. Interestingly enough, there was one more minor hit that emerged from the same album, titled “Don’t Forget to Dance.” This song, too, delved into the same poignant theme – a reminiscence of the grand dance halls from his bygone days. In the hands of a less skilled composer, this nostalgic journey could have easily veered towards sentimental or even melodramatic tones. However, Ray’s masterful touch ensured that it remained a beautiful and evocative piece.

Ray’s performance, supported by his band and four brass musicians, maintains a lively rhythm and delivers poignant lyrics. His casual remarks about witnessing his sister and her partner under the garden light carry an almost poetic feel. Similar to his most memorable nostalgic works, there is a sense of melancholy over what has been left behind, yet a realization that life continues, and things might not be as dire as they seem when we dwell on past hardships.

11. “The Village Green Preservation Society” (1968)

Among all concept albums centered around nostalgia, none surpasses the uniquely named “The Kinks are the Village Green Preservation Society“. Despite no individual tracks achieving widespread success or standing out significantly from the rest, this album offers a remarkable portrayal of an England that might have been a part of Ray Davies’ childhood memories.

Throughout the album, he writes with compassion and attention to detail, while keeping the music energetic despite being rooted in old-fashioned traditions. The opening song – one of two that specifically mentions the symbolic village green – is a jolly, rose-lensed roll call of all that once made a certain type of Englander proud.

As a passionate gamer, I must say this game showcases Ray’s most witty collection of rhymes. “We’re the Village Green Preservation Society – long live Donald Duck, vaudeville, and variety shows! We’re also the Desperate Dan Appreciation Society – long live strawberry jam in all its delightful variations.” Later on, he’ll shower equal admiration on frothy draft beer, creamy custard pies, and the pure essence of innocence.

10. “Sunny Afternoon” (1966)

So far, we’ve been exploring the emotional, sensitive aspects of Ray Davies. However, it’s important to note that he wasn’t just a bundle of emotions; he could also get angry. The foreboding, falling chords at the start of this melody take us into a more somber realm.

Ray seldom lets his emotions get the best of him, instead maintaining a calm and philosophical demeanor as he shares his experiences of being betrayed by both his lover and the government. He kicks off with the lyrics, “The taxman’s taken all my money – Leaving me in my grand mansion – Lounging on a sunny afternoon.”

As I sit here, my heart heavy with frustration, my girlfriend’s decamped with my car – back to her folks, spinning yarns about my reckless drunkenness and harsh behavior. Ray Davies’ artistry lies in its subtlety, and it’s clear as day: this woe-is-me guy is reaping the consequences he sowed.

9. “Acute Schizophrenia Paranoia Blues” (1971)

The Kinks’ album “Muswell Hillbillies” was their final significant release during their initial phase of success. While there were more outstanding tracks to come in the ’70s, Ray Davies was increasingly focusing on concept albums with a theatrical touch, which resulted in decreasing impact over time. However, “Muswell Hillbillies” remains a treasure, often overlooked at its original release and still underappreciated today.

Similar to “Village Green“, the album doesn’t have just one or two tracks that really shine. However, this particular song, with its distinctively Dylan-esque, tipsy tune bolstered by a brass band for an old-timey blues feel, is a fantastic embodiment of the entire record. “The milkman’s a spy, and the grocer keeps stalking me – The neighbor next door works undercover for the KGB – And the man from Social Security – Just won’t stop prying into my personal life – Oh there seems to be no remedy for chronic schizophrenia.”

In my gaming world, I’ve found myself flipped into an alternate reality of “Village Green.” What was once familiar and soothing now looms ominously and unsettlingly dark.

8. “Juke Box Music” (1977)

Following some challenging years in the mid-1970s, The Kinks reinvigorated their career with the debut of Sleepwalker in 1977. The title track leaned towards power pop with a hint of glam and enjoyed modest success. “Juke Box Music” was the subsequent single, although it didn’t achieve significant commercial success, it showcased the emerging theme of nostalgia that Ray Davies would further develop in his songwriting for much of the remainder of his career.

The song possesses a lively, power-pop ambiance reminiscent of “Sleepwalker,” yet its lyrics beautifully portray an intensely passionate music fan in a profound manner. Dave Davies’ gritty guitar playing and heartfelt vocals during the bridge give the piece an edge that significantly enhances it.

7. “Holiday in Waikiki” (1966)

1. Dave’s electric blues guitar playing provides the rhythm for the song, complemented by Mick Avory’s drum beat. Ray sings about an “English lad who was given a vacation in Waikiki.” This song offers another poignant depiction of a child feeling lost amidst the larger world.

Although he doesn’t explicitly express his longing for home amidst his escapades, it seems to be hidden in plain sight. He was unaware that the destination was commercialized when he unpacked his luggage – a genuine Hawaiian ukulele had cost him thirty guineas – and even while he’s swimming, there’s still a price tag attached. This particular song is often likened to the sound of almost every iconic pop-rock band from the 1960s, which I believe is one of the reasons that makes it distinctly reminiscent of The Kinks.

6. “You Really Got Me” (1964)

It wasn’t a walk in the park for me to arrange the songs 7 through 15, but once I reached the top six, it became nearly impossible. If you were to ask me to rearrange them right now, I might shuffle the order entirely.

As a die-hard fan, I’m slotting their iconic, groundbreaking single at number six in my personal ranking. Hidden towards the end of side one on their debut album, it’s a track that could easily be overlooked if you don’t give it a full listen. But trust me, missing this gem means missing out on a musical revolution. The raw power of Dave’s chords, which drive the song forward, are both straightforward and electrifying – they might seem simple, but the impact is anything but!

Ray’s songs are straightforward without revealing where he might head in the future. However, within two short minutes, The Kinks sowed the seeds for punk, metal, and the hard rock & roll that would dominate the latter half of the decade. As a song, it’s my sixth favorite, but if we consider its impact, it takes the top spot.

5. “Victoria” (1969)

The album titled “Arthur or the Fall of the British Empire” is another brilliantly conceived concept album from their most productive era. The opening track “Victoria” blends catchy, optimistic rock and roll with bitingly witty lyrics as well as any you can find.

Ray’s fond memories of the past are balanced by an understanding of its imperfections. “In the old days, life was simple – Sexual acts were considered immoral, termed as obscene – The wealthy were ruthless.” These 15 words capture the essence of the past in a concise and clear manner. In Victoria, Ray discovered the ideal emblem of an England steeped in mythology, and within “Victoria,” he transformed it into the most memorable of tunes. (Paraphrased)

Towards the finale, a brass ensemble arrives, adding an nostalgic touch, while Dave’s guitar continues to pulse with contemporary energy. This might well be their most successful blend of tradition and innovation.

4. “Dedicated Follower of Fashion” (1966)

In many of The Kinks’ top tunes, an equilibrium between traditional and modern elements, as well as sarcasm and emotion, is skillfully maintained. However, at times, Ray Davies discards this delicate balance entirely. This was evident with the non-album single “Dedicated Follower of Fashion,” which was released in 1966.

Ray’s critique of the trendy, style-conscious society that thrived in London during the ’60s is sharp and dismissive. Meanwhile, Dave starts playing chords that could potentially become a rock ballad, but they don’t.

Rather than that, Ray’s conspicuous introduction was “They hunt for him here and there – His attire is bold but never conventional – It could make or break him, so he needs the finest – For he’s a devoted follower of fashion.” In contrast to other rock & roll songs in 1966, this topic wasn’t frequently explored.

It’s possible that “Cool Jerk” by the Capitols was released in the same year. However, it lacked the lyrical sophistication found in Ray’s “They seek him here – They seek him there – In Regent Street – And Leicester Square – Everywhere the Carnabetian army marches on – Each one a dedicated follower of fashion.”

3. “Father Christmas” (1977)

“Father Christmas” is the greatest rock and roll Christmas song ever recorded. I say that because it fulfills both requirements of the designation. It is a sharp, poignant portrait of the holiday itself, and it is an out-and-out banger of a rock song. Dave Davies’s guitar never rocked as hard. It opens with sleigh bells but quickly morphs into a pop punk riff, long before we had a name for that. Ray tells the story of a gang of poor kids robbing a department store Santa.

“Father Christmas, instead of the toys, please give us cash this year. We’re tired of the games and want something more substantial. If you don’t comply, we may have to express our displeasure physically. We’re after your wealth, so try not to provoke us. Hand over all the gifts, not just the ones for the wealthy kids.”

2. “Lola,” (1970)

If “You Really Got Me” isn’t their most well-known track, then it’s “Lola”. It starts off with a straightforward acoustic chord progression that gradually intensifies and electrifies, eventually becoming a sonic torrent. The tune is incredibly infectious – a tiny yet persistent melody that lodges itself in your memory. However, upon closer listening, you notice the lyrics are subtly suggestive – “I’m not the world’s most physical guy – But when she squeezed me tight she nearly broke my spine – Oh, my Lola.”

The narrative follows a common pattern – a young person discovering their sexual identity for the first time. However, the twist at the end – “Girls will be boys and boys will be girls – It’s a confusing, chaotic world – Except for Lola” – was truly emblematic of rock music at its best. In essence, it took advantage of its widespread appeal as a straightforward art form to introduce a groundbreaking idea to the masses. Yet, most people simply thought it was just another catchy tune.

1. “Waterloo Sunset” (1967)

I don’t always agree with the good folks at Rolling Stone. But when Paul Evans opined that “Waterloo Sunset” “may be the loveliest ballad in the history of rock,” I am in full support. It’s a simple love story that suggests that no matter how ugly the world may get, the simplicity of a sunset and the right two people make it all disappear. It is a lovely melody. It features lovely harmonies. In a word – lovely.

It’s astonishing to think that the artist behind the witty satire “Dedicated Follower of Fashion” is the same one who created this masterpiece. Yet, it’s a testament to the brilliance of Ray Davies – and a mark of the Kinks’ greatness.

2024-08-18 17:01