I think "You Really Got Me" and "All Day And All Of The Night" sound similar in the way that you can tell they were written by the same person, but not in a x sounds just like x. Yeah there's a resemblance but in the way a brother and sister often look alike but not the same.
When I read about the "fill my gap" reference I looked for photo evidence. I detected a couple instances. Probably the most frequently seen is their Cavern club film doing "Long Tall Sally." It's tough to tell because the mic is in the way most of the time, but if you freeze frame it when he bobs his head away there are a few shots where his top row of teeth are visible and the gap is conspicuously absent.
Like you, Mark, I don't have deep insights into this. In general, though, the 1964 era stuff seems faithful to the records so they hold less interest to me than the 70's era RCA songs, which are given slightly different treatments to reflect their stage shows rather than records. But the band interviews are a real treat. It's especially neat that Quaife and Avory are given a bit more exposure than they otherwise get.
I think he wore something over his teeth for one tv performance (which one, I can't recall). He hated it. the legend goes that he was literally in the dentist's chair getting ready to have his gap filled (capped?) and he took off. Ray has a flair for the dramatic as we all know, and whether this is the truth is a whole other matter. He decided if he can't make a living based on his songwriting, then it wasn't worth it to him to fix his teeth (or something along those lines).
Reference guide A bit about the band Oct 1963 I'm A Hog For You Baby (first recording) Dec 1963 Oobadiaboo unreleased? Feb 1964 Long Tall Sally - live footage Apr 1964 You Still Want Me - b-side You Do Something To Me Aug 1964 You Really Got Me - Shindig tv - live footage - beat room - BBC - SNL b-side It's All Right/It's Alright - shindig tv Oct 1964 The Kinks Beautiful Delilah - shindig So Mystifying Just Can't Go To Sleep Long Tall Shorty - live 65 - shindig - live 72 I Took My Baby Home I'm A Lover, Not A Fighter - shindig You Really Got Me Cadillac - live Bald Headed Woman Revenge Too Much Monkey Business -Alt fast take I've Been Driving On Bald Mountain Stop Your Sobbing Got Love If You Want It - Live BBC I Believed You I Don't Need You Anymore Everybody's Gonna Be Happy demo Don't Ever Let Me Go 1964 All Day And All Of The Night - shindig - US tv I Gotta Move - shindig - live 92? Nov 1964 Kinksize Sessions Louie Louie - live I Gotta Go Now I've Got That Feeling - live Things Are getting Better The Kinks at the BBC 1964 Meets the Kinks You Really Got Me interview excerpt Cadillac All Day And All Of The Night Little Queenie I'm A Lover Not A Fighter Ray on YRGM and USA I've Got That Feeling Paris 1965 Hullabaloo 1965 The Kinks educate the US Dave - Annette and Frankie
This is so great. I'm struck this time that ADAOTN is not just primitive. It's sophisticated caveman. The song starts in G. That IIIb VIIb (Bb F) turnaround at "the only time I feel alright is by..." is cool, if a logical thing for the song to do. But then it goes to that II chord (A) on "...your side..." which is NOT expected at all. After hearing this for decades, I can still be surprised by it. The riff happens on that A: A, G, C, A. Ray is singing a long C#, which has an intense, UGLY dissonant clash with that C chord. Really unusual for a 1964 pop song; Clearly they heard it, liked it, leaned in on it. That's intense. That hangout on A sets us up for the riff shifting to D. And more so than in YRGM, it feels like the song has actually changed key, rather than just hanging out on the dominant chord... to the degree that it's a little surprising (if inevitable) that the song goes back to G for the second verse. When the song ends in D, it feels like it arrived there, rather than failing to return to the root key. So, if YRGM gets power from setting the vocal melody off kilter from the riff, and moving the riff through logical, yet effective and satisfying, building changes... ADAAOTN works on the idea of an even cruder riff setup, with a shocking, dissonant harmonic shift that turns out to be clever and purposeful. It's not simple at all, but it's done with a few bold colors, which makes it feel that way. Sophisticated caveman!
I Gotta Move does have a cooler jazzier vibe to it. I won't make any great claim for it, they make a song out of a riff and then throw in a key change to keep it interesting, but we are hearing the development of something different. I gave Kinda Kinks a spin the other week and this song would've also fitted well with the mood of that record.
Has anyone mentioned this? -- I'm always struck by the way the acoustic guitar and bass are playing the same riff and playing off each other. I may be forgetting earlier Kinks songs that do this, but it seems like they are varying things sonically with that acoustic guitar. But it also rocks! Reminds me a little of the band sound on "Little Miss Queen of Darkness" (at least the mono version where you can hear the acoustic guitar), even though that's a different kind of song.
For sure. I get the impression that in Ray's urge/surge to write, he may have discovered the circle of fifths and wanted to try a few cool modulations
I just realized that the clash isn't just between the C# and C. The riff plays a G chord under that sung C# -- tritone! With a D note against that C#, in addition to the G. Very intense dissonance.
Today I learned. For all these years (and they are many) I've heard this as "Oh yea, all day and night I'm yours, leave me never". I guess I'm the only one.
Lyrics are funny. There are so many songs that I have incorrect programs of in my head. Some songs will probably remain somewhat a mystery, just due to mixes and vocal drawl, enunciation etc
Actually, "night I'm yours" makes more sense - it would explain the way Hugh Cornwell sings it in the Stranglers cover, and Ray also sings it that way in the BBC version.
The funny thing is either way is the same sound ... so aside from a specific pause, or pronounced enunciation, it will sound kinda like both.
I agree, especially since the song's title is "...Night," and one would expect it to be re-enforced in the lyrics. But, it's not like "nighttime" doesn't work. It fits either way.