This is a British band doing an impersonation of an American band doing an impersonation of a British Band. Specifically, an American Sunset Strip band like The Standells, The Seeds or The Music Machine. Most of them had lead vocalists that in some way or another, were trying their best to sound like either Mick Jagger or Van Morrison. Here, it sounds like Dave is goofing on Dick Dodd or Sky Saxon. The Chocolate Watchband's recording was inevitable. Just about every summer of the 1960s gave us great songs that were either specifically about summer, or at least referenced it. 1964 gave us ALL SUMMER LONG and DANCING IN THE STREET. 1965 gave us SUMMER NIGHTS and SAVE YOUR HEART FOR ME. 1966 gave (at least the U.S. market) three perfectly crafted tunes, including SUMMER IN THE CITY and TURN DOWN DAY. Note that remakes of older hits, SUMMERTIME and SEE YOU IN SEPTEMBER were also a major presence on U.S. radio that summer. Which brings me to Sunny Afternoon. First the obvious. The melody, chords and arrangement are all impeccable. The combination of the honky tonk piano and that free-reed instrument (it could be a melodica, a concertina, an accordion, or merely a console organ with the accordion button switched on) all perfectly accentuate the Save Me Save Me Save Me/Help Me Help Me Help Me parts. Whatever that reed instrument is, the little F D F D counter melody it plays at 2:54 is a sublime moment in 60s pop culture. And those chords! The switch from Am on "stately home" to A7 on "Lazing on a sunny..." is completely unique. 1966 was the summer when The Lovin' Spoonful recorded what sounds like something with a lot of Kinks influence (Summer In The City), and "Sunny Afternoon" is the Kinks returning the favor. One can easily imagine Dave Davies belting out the former and John Sebastian crooning the latter. Note that both songs utilize the same descending bass line. And then there are the lyrics. Cryptic and at times, frustrating. The only solid rhymes are Got/Yacht, and Away/Stay. With all the others, either the consonants don't match up, or Ray has to sing in a funny accent to make them work ("Mar and Par"?). When he sings, "...and left me in my stately home," I've always taken it to mean the back yard of his stately home. I picture him lounging in a hammock hung between two palm trees while sipping at his beer and taking one final look at his mansion before the Internal Revenue Service makes it also go the way of his yacht. So "Big Fat Mama" is The British Government. Does he need someone to help him "Sail Away" because they took his yacht and he needs to borrow some other seafaring vessel? I've also never heard the word "Squeeze" used in this context before. Usually, it's utilized as a romantic verb ("I'm gonna hold and squeeze you tight"). Here, it appears to be referencing pressure from the powers that be for him to relinquish whatever meager possessions they haven't yet confiscated. Finally, there's that ending that appears to be musically referencing the beginning of SPANISH FLEA. Was that supposed to be some sort of inside joke? While it might've been the greatest time for music ever, I'll just mention that the British were particularly on fire that summer. "Paperback Writer," "Paint It Black," "Bus Stop," "I Couldn't Live Without Your Love," "Sunshine Superman," "Over Under Sideways Down," "Pretty Flamingo" and on and on.
Sunny Afternoon -- Among other things, the song is about the endless war between major and minor chords and keys. They do come to a draw for a moment there, where both major and minor exist at the same time....on the word "Live" at "Live this life of luxury," first chorus. (Melodica is minor, guitar is major.) The draw may be because of a goof in the melodica/harmonium overdub, but I'll take it. Incredibly, given how harmonically rich the song sounds/is, it has only 6 chords, not counting perhaps some additions/subtractions of a dominant 7th to some major triads. Dm, C7, F, A7, D7, G7 In spite of the increasing sophistication in Ray's songwriting in the prior months, this still feels like it comes out of nowhere. It's a breakthrough, but also a career-defining peak.
Did I miss it, or did we skip over the outtakes "Listen to Me" and "She's My Girl"? I don't want to get deep into it in the middle of the Sunny Afternoon discussion. Neither has been released, and they exist only in the lowest quality boots. They are late 1965 outtakes.
Not mentioned yet. I did wonder about them, however one problem is that ‘She’s My Girl’ is so obscure it’s not even on YouTube! If Mark wanted to add ‘Listen to Me’ (which is) on one day for a bonus discussion that’d be cool, although by the same token I don’t think we’d be missing much without it.
I woke up at 7 am and there was already over two full pages of comments! I can't believe there is so much praise for these two minor songs. Just kidding! I am in agreement with all the praise and everyone has posted some lovely thoughts already! "Sunny Afternoon" Simply one of the greatest singles of all time. Exactly! This is a song that I recall making my father smile. He wasn't much of a music person, but every time I hear this song it makes me think of him. What a joyful piece of music that can turn the grumpiest of days into a day in the sunshine sipping on an ice cold beer, even if the taxman has taken all your dough! This is definitely yet another breakthrough for The Kinks and Ray's songwriting. It never grows old or fails to cheer up the crowd, no matter the age. Ray has written a song for everybody, even though he claims he is "Not Like Everybody Else" on the flip side. "I'm Not Like Everybody Else" Ha ha. I love your description of the opening riff! This is a fantastic song that all of us can relate to or at least want to relate to. A very punk rock lyric that I think is even more defined on The Chocolate Watchband version. It's hard to say which version I like more. They are both equally compelling and make their mark of Zorro all over my Face (To Face).
Unfortunately if they aren't on the deluxe releases, I am very unlikely to be aware of them. Perhaps one of you guys would like to give us a post about them? If you can find the song post it also? Maybe do that a little later in the day when folks have started quieting down with today's songs?
I just went over to YouTube and listened to "Listen To Me" for the first time, and probably the last. It's an ultra low-fidelity recording that sounds live. Nothing about it makes much of an impression on me.
Transcriptions can always be at odds with each other ... here are a couple for Sunny Afternoon Chords for "Sunny Afternoon" "Sunny Afternoon" (Ray Davies) Intro: Dm /C /B /Bb A /G /F /E [2X] / / / / / / / / / / / / / / / / Verse 1: Dm C The taxman's taken all my dough F C And left me in my stately home A /G /F /E Dm Lazin' on a sunny afternoon C And I can't sail my yacht F C He's taken everything I've got A /G /F /E Dm All I've got's this sunny afternoon Chorus 1: D7 G7 Save me, save me, save me from this squeeze C7 F A7 I got a big fat mama tryin' to break me Dm G7 And I love to live so pleasantly Dm G7 C7 Live this life of luxury F A7 Dm /C /B /Bb Lazin' on a sunny afternoon A /G /F /E In the summertime Verse 2: My girlfriend's run off with my car And gone back to her ma and pa Tellin' tales of drunkenness and cruelty Now I'm sittin' here Sippin' at my ice-cooled beer All I've got's this sunny afternoon Chorus 2: Help me, help me, help me sail away Or give me two good reasons why I oughta stay 'Cause I love to live so pleasantly Live this life of luxury Lazin' on a sunny afternoon In the summertime Transcribed by Andrew Rogers. ------------------------------------------- From: Harlan L Thompson SUNNY AFTERNOON- The Kinks Dm Dm/C Dm/B Dm/Bb A A/G A/F A/E Dm Dm/C Dm/B Dm/Bb A A/G A/F A/E Dm C7 The taxman's taken all my dough F C7 And left me in my stately home Dm Dm/C Dm/B Dm/Bb Dm Lazin' on a sunny afternoon C7 And I can't sail my yacht F C7 He's taken everything I've got Dm Dm/C Dm/B Dm/Bb Dm All I've got's this sunny afternoon CHORUS #1: D D7 G G7 Save me, save me, save me from this squeeze C7 F A7 I got a big fat mama tryin' to break me Dm G And I love to live so pleasantly D7 G7 Live this life of luxury F A Dm Dm/C Dm/B Dm/Bb Lazin' on a sunny afternoon A A/G A/F A/E In a summertime Dm Dm/C Dm/B Dm/Bb In a summertime A A/G A/F A/E In a summertime My girlfriend's run off with my car And gone back to her ma and pa Tellin' tales of drunkenness and cruelty Now I'm sittin' here Sippin' at my ice-cooled beer Lazin CHORUS #2: Help me, help me, help me sail away Or give me two good reasons why I oughta stay 'Cause I love to live so pleasantly Live this life of luxury Lazin' on a sunny afternoon In a summertime, in a summertime In a summertime REPEAT CHORUS #1 Dm/C Dm/B Dm/Bb A A/G A/F A/E E --1------1-----1------------------------ B --3------3-----3----2----2----2----2---- G --2------2-----2----2----2----2----2---- D --0------0-----0----2----2----2----2---- A --3------2-----1----0------------------- E -------------------------3----1----0---- (one could alternately keep on the Dm and add the bass notes all the way down to E) --------------------------------------- From: Ric Arthur SUNNY AFTERNOON- The Kinks Words and music by Raymond Douglas Davies Dm Dm7 Dm6 Dm(+5) Dm Dm(A->G) A7(E->F) A7 (This is one way of doing the run in chords, where Dm(A->G) means the Dm chord with A down to G, and A7(E->F) means the A7 chord with an F in place of the E.) On the record the run is played on the bass, while the chords are probably Dm then A7: Dm /C /B /Bb A /G /F /E [2X] / / / / / / / / / / / / / / / / Dm C7 The taxman's taken all my dough F C7 And left me in my stately home A7 Dm Lazin' on a sunny afternoon C7 And I can't sail my yacht F C7 He's taken everything I've got A7 Dm All I've got's this sunny afternoon CHORUS #1: D7 G7 Save me, save me, save me from this squeeze C7 F A7 I got a big fat mama tryin' to break me Dm G9 And I love to live so pleasantly Dm G7 Live this life of luxury F A7 Dm Dm7 Dm6 Dm(+5) Lazin' on a sunny afternoon Dm Dm(A->G) A7(E->F) A7 In summertime Dm Dm7 Dm6 Dm(+5) In summertime Dm Dm(A->G) A7(E->F) A7 In summertime My girlfriend's run off with my car, And gone back to her ma and pa, Telling tales of drunkenness and cruelty. Now I'm sitting here, Sipping at my ice cold beer, Lazing on a sunny afternoon. Help me, help me, help me sail away, Well give me two good reasons why I oughta stay. 'Cause I love to live so pleasantly, Live this life of luxury, Lazing on a sunny afternoon. Dm Dm(A->G) A7(E->F) A7 In summertime End on Dm: D, then Gx3, repeat and fade. ---------------------------------------- I might try those out this weekend if I get a chance
On the words, "Stately Home," I'm definitely not hearing a C, but an Am/E. Try it both ways on guitar or piano, and see what you think.
Maybe the song was meant to be predictable. I'm not a guitar player but this one pretty much stays simple except for the neat intro and odd timing before the final verse. Certainly Ray is taking a cue from what the Kinks were (the garage side of them) and what groups like the Who were now doing. It's a song that a teenage kid can relate to. I know I did when I was fourteen and just digging into the Kinks. It's also got that gnarly Dave vocal. I suspect it was written specifically for a Dave vocal. I wouldn't doubt if Dave wrote a lot of the music and Ray heard it and threw some words on top. I especially like the raw outtake on the deluxe edition.
It'll be the weekend before I even see my guitar.... I haven't transcribed anything since probably 1991 lol.... i am way out of practice.... i preferred doing my own stuff
Cheers mate. I might pick my guitar up for the 5th time in about as many years and sing me some Kinks songs this weekend
I have. It's an interesting, long read. But it's not a pretty picture the author paints of Ray. We've discussed this a little bit earlier in this thread about knowing too much about your 'heroes' or those you admire. Some want to know the personal details behind an artist and others don't. Ray's reputation as a tough customer precedes him I'm afraid.
I didn't look too closely, but it took me a minute to understand the notation in the first one. When we see: Dm /C /B /Bb A /G /F /E He means that the Dm, and then the A, get a succession of changing bass notes. It doesn't mean you play a Dm, then C chord, then B chord, then Bb. It may be obvious enough, just pointing it out.
Regarding I'm Not Like Everybody Else: I think it deserves one more mention of Pete's great bass playing - during the middle repetitive section in E minor he begins to do some really exciting swooping up and down on the bass, and he does it again at the end. It's recessed in the mix but I think it really adds to the already tense and edgy atmosphere of the track. Go Pete go! Still using the Rickenbacker, though soon to change to the Gibson EB-3. What a fantastic single. The Kinks have now entered a super high quality streak...
To be honest I haven't even looked at them yet lol I just noticed the chords discussion a d thought they may be helpful ... Just popping in and out between scrubbing floors... giving my old weary neck a break
Some great posts about Sunny Afternoon. My tuppence worth, despite some blazingly great songs prior to this, Sunny Afternoon is a bona-fide standard. The juxtaposition of influences - I hear music-hall, jazz and blues, blend effortlessly. The comedic lyrics in praise of indolence and idleness have a splash of Noel Coward about them. All underscored by a narrator who may have lost everything but doesn't give a damn. Ray gives himself completely over to the narrator's role and that opening descending chord sequence is so astonishingly simple it's amazing no-one had used it before. I can't remember where I first heard I'm Not Like Everybody Else, but it crept up on me over a few listens until one day I realised it was an obscure Kinks gem. Dark and moody. There are a few of these marvellous non-album B sides knocking around from this era, not sure any of them topped this one.
Listen closely to the original studio mono I’m Not Like Everybody Else and you can just make out some organ flourishes deep in the background. I am assuming this to be Nicky Hopkins and was purposely mixed out for some reason and what we can hear is microphone leakage of some sort picking that up. Either through an early playback picked up during an overdub session or something else. Too bad there is no stereo mix of this as presumably the master tapes are lost. I think Andrew Sandoval would have done a contemporary remix for the Deluxe Set or the Anthology had they been available. All this is just conjecture on my part of course. This should have probably been put on the Face To Face Deluxe set as opposed to the Kontroversy Deluxe. As for Listen To Me and She’s My Girl, neither of these has ever been released officially so maybe these fall outside the parameters of the thread, but that’s Mark’s call of course. I’ve personally never heard either of these despite being a kompletist (official releases/mixes only).
Re I'm Not Like Everybody Else. I've got this on at least two vinyl collections and there is vague distortion on the vocals early on in the song. Don't know how it got there, and it disappears after half a minute or so, but present on both versions.
