I find the Session Man lyrics discussion interesting. I'm not reading them as a putdown... it seems to be addressing the professionalism to me.... though I do understand how some folks may see it that way. A band member may argue and debate, and want to go to the bar, or home for dinner or whatever. A session man comes in between 10am and 2 PM and lays down the track as requested.
Session Man I'm not sure what to make of the intention behind the lyrics here, but I don't really enjoy the song. That 'musi-shee-an' thing is really irritating. That bit, along with the dots and lines/no overtime line make it feel like a pisstake or dig at session musicians, but its not clear. Rainy Day In June Having not heard this before I'm not sure about it. I was interested to read the thoughts from others that it may be about nuclear fallout. I'll need to listen a few more times to really form an opinion, I think, but it does feel a bit 'prog' with the demons etc and epic feel (and for me that's not a positive thing...!) I agree it does sound corny and too loud. Aside: from what I've gathered from reading this thread, it seems most of the artistic decisions were Ray's - except the bad ones!
"Session Man" This is so darn catchy. I never heard it as a put down either. He is just stating what a session man is. I think many of the lyrics are complimentary. "A top musician". Almost like Ray wishes he could just be a "Session Man". Excellent opening harpsichord. Is that Mozart in the studio with them? It sounds like a scene from the movie "Amadeus". Then it kicks into a pure pop nugget. I love Ray's pronunciation and vocals on this. Great song. "A Rainy Day In June" A hauntingly gorgeous tune. So much variety on this album already. They are certainly not one trick ponies. Some great comments about the apocalyptic lyrics. I also always thought the thunder sounds during the song should be toned down a bit. Other than that, I think this is a very special tune. The lyrics and the vocal are hypnotic. Everything works musically. Beautiful backing vocals, the pounding march of the drums, nice touches of piano, and what sounds like some tremolo guitar to give it a psychedelic feel. This is a tremendous song.
In the early 1980s, Nicky Hopkins was being interviewed on a local radio station here in Los Angeles. I called in and asked if this song was specifically about him, seeing as he's featured so prominently at the beginning. He insisted that it was merely a composite sketch of every outside musician that Shel Talmy ever paid to show up, regardless of whether or not he wound up actually being used. That being said, I like the tune. It has elements of early Merseybeat from a couple of years earlier, most notably that Gm chord on the word "Million," which always reminded me a bit of The Beatles' "Any Time At All." The chords and style of strumming that underpin the "He's A Session Man..." part actually anticipate Cheap Trick and early 70s Who (think "Doctor Jimmy"). The opening set of "Hey Joe" chords (C G D A) really set the tone for what just might be the very first description of a negative acid trip. I'm really curious to know what type of foreboding orchestral arrangement George Martin might've concocted had he been presented with something apocalyptic like this. Whenever I hear the line, "The Demon Stretched It's Crinkled Hand And Snatched A Butterfly," it conjures the image of a gigantic appendage suddenly appearing from the clouds that are forming in the sky. It always reminds me of this M.C. Escher woodcut:
Well, George Martin probably would have made it sound like a Petula Clark song. As much greatness he did for the fabs, I never understand everyone's love for him. While I do like his other artists, the arrangements he did for them were usually too heavy handed and brassy. He had good engineers but I don't think he could have made any Kinks song better unless he could have worked with Ray's ideas of sound as well as he did with Lennon & McCartney.
I don't know about his work with other artists but when working with The Beatles he was inspired to greatness by the material they presented him with. At the very least The Kinks certainly would have benefited from the engineers he used, and I have a feeling he would have improved on Shel Talmy's efforts in that aspect alone. At the end of the day though The Kinks' music from this period is imperious anyway, despite the sonic imperfections.
Session Man is not a favorite, but that said, I think it’s a good example of how Ray being ambiguous with his lyrics. I used to think it only was a mean put-down of the professional session players. Then I realized after a few more listens that the lyrics in the first verse are mostly complementary. Then the chorus and later verse start to mock the subject a little bit. So you can interpret it as feeling sympathy and maybe a bit of jealousy for the talented musician who is stuck at playing sessions to pay the rent; or you can interpret the song as painting the character as a soulless drone who hasn’t a single original idea of its own, being ridiculed by the auteur. I like Rainy Day in June, but feel the lyrics are a bit more clumsy than the two earlier ballads on side one. Still, there is some interesting imagery in the song- and it serves as a great mood piece as many have posted. It’s certainly not covered by Herman’s Hermits, was it?
Was it his brother Dave that said Pete left the Kinks because a certain person broke his , Pete's , wrists ?
Yeah he mentions that incident in that book, although as it occurred more than a year before Pete left the band, it can’t have been the absolutely deciding factor. No doubt it contributed though. Pete emphasised on several occasions that his main reason for leaving the group was the constant in fighting, though he was polite enough to avoid mentioning specifics: his brother clearly had no need to maintain any such niceties. Hafsted’s book is definitely worthwhile for getting the unvarnished truth of the Kinks experience from the Quaife family not available elsewhere, but that said it is just one account of many and I’d still recommend reading as many sources as possible to get the full picture of the group.
It's a bit off topic and I do like George Martin. I just always have to disagree with the thoughts of many forum members that the Kinks music is sonically bad or that someone like Martin would have done better. I much prefer the sound of Talmy over Martin overall. It's more stingy. I'd like to flip the coin and think of how Talmy could have handled an album like A Hard Day's Night especially on songs like "You Can't Do That." It's my belief that US garage rock would not have been the same without that dirtier sound found in the Kinks and The Who's early records. I think that sound gave way to youth thinking, 'oh yeah, I may be able to make that sound.' Maybe it's just me but I think the Kinks records are some of the best sounding 'rock' records from it's period. It's all subjective though. I just can't see them being any better than they already are. We're still talking about them. Sorry for the rant. Back to Face To Face!
I completely understand this perspective... I love these albums, and perhaps the sound is part of it. I tend to be more interested in the songs anyway.
Session Man I like this one mostly because of the unusual subject matter and the guitar work---especially the clever part where three chords are played that sound (to me) like they're meant to imitate chording by a session guitar player: "He's not paid to think, just play" 1 - 2 - 3 "a session man" 1 - 2 - 3 "a session man" 1 - 2 - 3 . . . Rainy Day in June An absolute stunner. The thunder, lyrics, piano, and guitar---all indicating trouble. Perhaps a centerpiece of the album, even though it isn't closely related to any other song. Ray's version of "Darkness at the break of noon."
SESSION MAN So a song about a session man who had a brief moment of fame at the Albert Hall (Oh Boy!) and then just became a studio robot. It starts off well but then become too repetitive at the end. For me the best part is the line "Playing at a different studio every day." with the build-up on 'day' (a favourite Kinks word if ever there was one). RAINY DAY IN JUNE And here's another 'day' - but this time there's a lot of doom and gloom associated. If this is about war then maybe Ray could have given us a few clues. As it is, it sounds like an over-reaction to a summer thunderstorm. And that groovy young man fliting around like a butterfly seems to have met a grisly end, just as had earlier been promised to that flighty dandy fellow. Is this the album's concept? That under everyday humdrum topics like party lines, baking cakes and June showers, dark forces are at work. In which case Ray reminds me of Willliam Blake, a poet who looks at a rose and sees death. O Rose thou art sick. The invisible worm, That flies in the night In the howling storm: Has found out thy bed Of crimson joy: And his dark secret love Does thy life destroy.
Session Man I really like the music in this one. But as others have said, it's a bit mean on the lyric front, so that's a bummer. After being so engaged in the first 4 songs on this album, this is a stumble for me...a minor one, but it's not a top song on my list. Rainy Day in June This song is rather new to my ears so it's still settling into my head. It definitely won't be a top favorite of mine though. But yes, it does set a mood, doesn't it? And I appreciate that it brings something totally unexpected at this point in the album. But I feel like the last two thunder claps tamp down the music/vocals and just doesn't work for me. I think less is more on the thunder front. I think I'd have to be in a certain mood to want to listen to this.
I'm not hearing what's mean about the lyric in "Session Man". What's wrong with being a hired hand and a top musician that is paid to play what's on the page? It sounds to me like Ray is jealous of this position. He wishes he could just go in and play and not think about it or have to write all the songs. I also find it interesting that the closest The Kinks got to psychedelia are two songs related to the weather. "Rainy Day In June" would be a contender. The other song is "Lazy Old Sun". What else comes close to being psychedelic? "See My Friends" is often regarded as an early psychedelic song, but are there any others? I guess "Wicked Annabella" could be another. I'm not sure if I am forgetting any, but they didn't do many songs like this. It's another reason I find "Rainy Day In June" to be a special song. I was looking at the Wikipedia page for this album and it's listed as Baroque pop and garage pop. It's the only album of theirs with this listed as the genre. That's a pretty accurate description. I'd say it's the best Baroque/garage pop record of all time.
You all have this covered. Nerdy point -- "Rainy Day In June" is one of the reasons the stereo version of the album needs to be a secondary listening experience. There is a beautiful backing vocal part (Rasa?) missing from the stereo mix. I haven't checked it out recently, but there is a lot of panning of the thunderstorm effects in the stereo mix, which are synched entirely differently than in the mono mix (and more poorly). It appears that the sound effects were "played" directly into the mixes, and weren't prerecorded onto any of the tracks. In this instance, it may be that that vocal was added during the mono mix as well. The recording process seems pretty clear: The band recorded onto three tracks, then mixed these to one track on a separate deck -- or, they simply recorded the whole backing track live onto one track. In any event, this left two tracks of a three channel tape deck.... for either a vocal track + solo instrument track, or for two vocal tracks. So, that leaves next to nothing for any sort of stereo imaging in the mix. In some of the stereo mixes, they simply panned the reverb of each channel to an opposite side, and left both vocal and instrumental track panned close to center.
I don't know what to say about "Session Man." I don't love it and I don't dislike it. The backing is really good and it's catchy. It's just not a topic many can get passionate about. Speaking of occupations, I'd rather listen to "Session Man" than "Mr. Reporter." It's fun to listen to and it rocks, but it wouldn't make any best-of list of mine. The intro is quite tacked on and unnecessary. "Rainy Day in June" - Now this one's unique to the Kinks catalog. Ray trying something new lyrically. As others have said, the words "ominous," "eerie," and "unsettling" come to mind. I really like this one. It'd be fun to put this as the B-side to "Sunny Afternoon." Both songs are the most elaborate productions on the album. Not sure we need those cloudbursts (or atomic explosions, take your pick) in the chorus, but it never bothered me enough to think long about it. "The reckoning was beckoning / They're living to their doom." Rain itself is not this apocalyptic, but something hardcore is happening this day. Ray's birthday is in June. Hmm.
Are you referring to the major life events around Ray's 13th birthday when "everybody felt the rain", was his sister the (dancing) butterfly?
I agree with all that to a point - that it's subjective and the music survives anyway. I also think that The Beatles were just a tighter and a more musically sophisticated band than The Kinks. They did play and perform together for much, much longer than The Kinks prior to getting a record contract and consequently had a massive and varied repertoire behind them, so it's no surprise. George Martin had nothing to do with that. Aside from that, Martin did achieve a more cohesive sound with them. But that doesn't mean I think The Kinks records are really poor sonically (although they're not brilliant by modern standards) or that Shel Talmy somehow got it wrong. These were the circumstances that things happened in. I think you can compare The Beatles sound favourably with other bands who were around like The Stones and The Who, whose records also sound rough in comparison. None of that means I don't love The Kinks records, and as you say that dirty sound, whether achieved through accident or design, might be preferable to you. The Kinks are my favourite band from the 60s, so they were doing something right.
Session Man- I like the song , but it’s not quite up to the same level as the opening four songs. It's funny that the band has booked Nicky Hopkins into the studio, and he adorns many of the numbers with intricate piano and harpsichord parts, Ray even "dedicates" an entire biting, somewhat critical song to him. Rainy Day In June- One of the more interesting tracks of the album. The bursting rain of ''Rainy Day In June'' that musically feels as if a torrential downpour really is blowing across you. But as a poetic examination of how it feels when everything sunny turns to rain, it’s a really great song.
I can't remember if I covered the backing vocal in this track in my Mixology episode now, and you've got me freaking about it a bit! Either way, I quite enjoy the panning sound effects here, but that 'reverb trick' is such a weird one. I honestly would've taken all the lead vocals panned off to the right just for some semblance of stereo. At least Wakiki has the vocals panned partially left, but then the tom overdub is just way too loud compared with the mono. The reverb on Most Exclusive Residence just takes any oomph out the track, making it sound too airy! I will catch up on the last few days soon. Bank Holiday weekend was for relaxing, and work has been busy this week.
House In The Country. mono mix (2:59), recorded Apr-May 1966 at Pye Studios (No. 2), London He don't need no sedatives to ease his troubled mind. At work he is invariably unpleasant and unkind. Why should he care if he is hated in his home, 'Cause he's gotta house in the country, And a big sports car. He's gotta house in the country, And a big sports car. But he ain't gotta home, oh no, And he's as wicked as he can be, 'Cause he's gotta house in the country Where he likes to spend his weekend days. Oh yeah, oh yeah, well all right Well, he got his job when drunken Daddy tumbled down the stairs. From that very day this boy has more than had his share. One of these days I'm gonna knock him off of his throne, 'Cause he's gotta house in the country, And a big sports car. He's gotta house in the country, And a big sports car. And he's oh so smug, oh yeah. He's got everything he needs, 'Cause he's gotta house in the country Where he likes to spend his weekend days. Oh yeah, oh yeah, well all right And he's oh so smug, oh yeah. He's got everything he needs, 'Cause he's gotta house in the country, And a big sports car. He's gotta house in the country, And a big sports car. But he's socially dead, oh yeah, And it don't matter much to him, 'Cause he's gotta house in the country Where he likes to spend his weekend days. Oh yeah, oh yeah, well all right House in the country House in the country House in the country House in the country Written by: Ray Davies Published by: Davray/Carlin Music Corp. Musically this is a rip roaring bit of fun, and it has a ton of great little chord and riff embellishments that really set it off nicely for me. Lyrically this kind of reminds me of a Richard Cory type track, but there isn't any resolve of realising that this guy would have his own issues, even if from the outside we have this guy who fell butt first into the fat life, looking like everything goes his way. There is also the distinct possibility that this guy is one of those cases where this person was born into wealth expanded via pure luck and has a somewhat sociopathic mentality that allows him to live without regret or remorse or what have you. The lyrics are somewhat jealous and bitter, and seeking a big equaliser ... "One of these days I'm gonna knock him off his throne" I also find it interesting that Damon Albarn wrote his own version of House In The Country ("Country House") for Blur, and it also explores the idea of the rich guy with the house in the country.... I think the implication being that he has two, or more houses .... because of course there are plenty of people who live in the country and don't really have wonderful financial situations. I really like the opening guitar riff/lick that brings us into the vocals. I think the use of the unison double hit for accents during the song is really very good. The rolling, descending chord section is also excellent. The staccato stabs at the end of each section also work really well. I reckon this is a great album track. It is bright and bouncy, and the arrangement is excellent, and Ray gives us a great vocal. If we're listening to the record it's a great finisher for side one, and if we are listening to a cd, it keeps things rolling along really nicely. Excellent track.
Holiday In Waikiki. mono mix (2:47), recorded May 1966 at Pye Studios (No. 2), London I won a competition in a little column in my local paper. So I packed my bags and flew across the sea all on my local paper. I sailed to Hawaii in the U.S.A. I'm just an English boy who won a holiday in Waikiki. I didn't realize it was commercialized when I unpacked my cases, Because a genuine Hawaii ukulele cost me 30 guineas, And even when I'm swimming I have to pay. I'm just an English boy who won a holiday in Waikiki. Oh yeah, yeah. Across the coral sands I saw a hula hula dancer, looking pretty. I asked her where she came from and she said to me, "I come from New York City, And my mother is Italian, And my dad's a Greek." I'm just an English boy who won a holiday in Waikiki. It's a hooka hooka on the shiny briny on the way to Kona[?], And in a little shack they had a little sign that said Coca Cola, And even all the grass skirts were PVC. I'm just an English boy who won a holiday in Waikiki. Oh yeah, yeah. In Waikiki In Waikiki Written by: Ray Davies Published by: Davray/Carlin Music Corp. The intro is a sort of ocean sounds thing, and it is to give the impression of being at the beach ... Then we get the sort of surf music drums intro that leads us into the song. We get a little guitar note bend come in, and then we move into an almost rockabilly kind of guitar pattern on the rhythm guitar. We have a slide guitar adding little embellishments, that work very well. This track would of course open side two, and it somewhat is a continuation of the uptempo rock that ended side one, and it's the first time on the album that we have two somewhat similar songs back to back really.... On the cd it still works well, but I guess to some degree it was designed to be side two, and not a continuation. On the surface we have the idea that this is some lucky guy, who is likely not particularly rich, and won a vacation in Hawaii.... yes in England and Australia that's a holiday..... but the song has a little more depth to it than that. The is an exploration of the facade that often meets folks in vacation spots. Everything isn't quite what it seems .... The Hula dancer is a New Yorker of European decent. we have the commercialization selling whatever fake little trinkets the tourist may want to buy. The grass skirts are pvc, the main drink in Hawaii is coca cola ( and notice there is no censorship, but in a few years there will be) ..... We have a tourist trap ... yes the lad won a holiday/vacation, but even just swimming in the water is going to cost him extra. This is cynical Ray in very good form, and this song works really well for me, just on that level. Musically we move along at a good step, and we have those already mentioned nice guitar parts. At the end of each section we get an almost sarcastic sounding guitar riff. We fade out on the slide guitar and the ocean sounds and surf drums come back in. This is another very cool track
