Oh, Pye's grammar department was awful. Day's See My Friend Deadend Street (on the Marble Arch LP) Shangrila (On the UK 45) To name but a few.
No problem! It makes sense to base it off the main source, but I tend to feel Andrew's liners are usually pretty solid. Obviously this doesn't cover everything though! I'd love a definitive list of recording dates. It would be fascinating to see how all these all-over-the-place tracks line up.
Doug Hinman has done yeoman work in his research on The Kinks, much, if not all, was done pre-Internet. Unlike the Beatles, whose every move was documented, what Doug did was more like putting together the wreckage from a plane crash.
You do understand I'd wondered if the Nazz copied the Kinks, not the other way around, yes? The Kinks' basic track, with that hook, preceded the Nazz by over two years.
Since we are doing 1966 alt mix day, I'm throwing this up here. Somehow I missed this existence of this??!!??? Was this posted earlier in the thread? It's an alt mix of "I'm Not Like Everybody Else" with a near-whispered vocal from Dave on the verses. It is believed to date from May 12, 1966. Hm! Does that mean the final vocal is also from May, and not from January 1966 (which is when the backing track was probably recorded)? Sunny Afternoon was recorded May 13, 1966, and the single with both songs was released in June 1966. It seems to have an alternate line in the chorus: "And I don't want to stay surprised like everybody else" huh? Am I hearing that right?
I’m glad you mentioned this as I think it is an important distinction. Most all of these “alternate stereo mixes” that are on the 2010’s releases of the 2CD Deluxe sets, the big Super Deluxe sets, and The Anthology are all new mixes done at the time these sets were being planned and researched. Sandoval did some of these and there were other folks who worked on some of the other sets including one Raymond Douglas Davies. I think of these modern mixes as “Remixes” whereas anything actually mixed back in the 60s at the time of recording as “Alternate Mixes” for any song that had more than one stereo mix (or very less common a mono mix) even if that Alternate was not released until years/decades later.
Now would be a good time to mention something. Below is a photo of the U.S. only "Great Lost Kinks Album" compilation. Click HERE for more information on it. I'm bringing it to your attention, because it contains two Arthur era rarities that never popped up on any Sanctuary re-issues, "Til Death Do Us Part" and "When I Turn Off The Living Room Light." If you wish to include them when we get into 1969, there are multiple uploads of both of them on YouTube (HERE and HERE). Both songs are from "Where Was Spring?"
Actually, both of those tracks appear on the Village Green Preservation Society super deluxe edition.
Interesting... The catalog is certainly confusing when it comes to outtakes and such, with there having been, apparently, no records of any particular description kept.... Oh well, one way or another, we'll get to them all, wherever they may pop up
I first heard this off The Kinks Kronikles back in 1973. The album was on a double length cassette. It was kind of buried toward the end. When it started I said why have I not heard this before??? I always consider it a perfect example of classic early Kinks sound. Something you can't help but move to and have a smile put on your face. Your spirit gets lifted like the best rock'n'roll can do! Love it!
This makes me think of the consequences of Ray’s declaration of “I’m Not Like Everybody Else.” The band’s biggest chart successes were actually when the band was just like everybody else, and could be appreciated and marketed that way e.g. in 1964-65 as another en vogue mop top English quartet playing uptempo boy/girl dance music, and in the late 70’s, early 80’s as another FM radio AOR arena-rock band. But 1966 to 1976 was the era of Ray playing by his own rules, following his own muse, and being the auteur. As result, the band simply didn’t fit a proven, successful marketing mold. Their record companies had to adapt to The Kinks rather than the other way around. While the music was the better for it, audiences who were more interested in trends simply decided to not pay as much attention.
Totally.... I reckon if they had followed that route they would have faded away fast. I understand this perspective, but I don't necessarily totally agree with it.... but that's for another day. "Totally" being the most significant word in that sentence
Not much to add on the alternate stereo mixes today - I'm not a fan of vocals hard-panned to one side, and we get some of those on the next album. The extra 30 seconds of "Fancy" is appreciated, though, and should have been included on the album version.
I'm just going by what's listed in Wikipedia (HERE). I don't see them on any CD re-issue of the Village Green album. They really don't belong on one, because they were recorded in early 1969, and are both thematically and sonically more of the Arthur gestalt.
Scroll down to the track listings here: The Kinks Are The Village Green Preservation Society super deluxe box – SuperDeluxeEdition
When I Turn Off The Living Room Light was released earlier on the 2001 and 2012 BBC Box Sets and both tracks on the 2014 Anthology 1964-71 Box. Nothing on The Great Lost Kinks Album is still exclusive there. Everything is now available on CD.
And/or here: The Kinks – The Kinks Are The Village Green Preservation Society (2018, Box Set) "Till Death Us Do Part" is a 1968 track w guide vocal, recorded for a movie of the same name. I seem to recall it precedes the last VGPS session by a month. This and "Pictures in the Sand" w vocal were forced out of print by Ray until very recently -- the Anthology, I think, was their return. The "Where Was Spring" tracks -- two of them -- are from early 1969, the second being "Where Did My Spring Go?" But we are getting ahead of ourselves.
Oo thanks for that. I had wondered if I had it the wrong way around when I posted. I need to think a bit harder before I start typing.