Discussion in 'Music Corner' started by mark winstanley, Apr 4, 2021.
The Thoughts / All Night Stand (October, 1965) U.S. Version:
And I Will Love You
There is nothing remarkable about this song. No reason to listen to it more than once.
One Night Stand
I've heard this from the Anthology before. It's definitely the better of the two songs. Holds some interest in parts, but then Ray's voice gets really annoying toward the end.
Oh well...Ray is definitely allowed a few clunkers.
So I should say, I don't think One Night Stand is a clunker. I walked away from my computer and made dinner and the chorus(verse?), kept going through my head, so it does have staying power. It just needs more work perhaps.
Get on that, Ray...wouldja?!
Go Dave go! that was enjoyable.
Yes it is!!! This track is compelling to me because the timing is VERY unusual. This appears to be pretty much the point of this experiment. The second line of each verse seems to involve an abrupt time signature change, and not quite the same one each time. Great big spaces between the lines. It's fantastic. One of their best unreleased songs; one of the ones that succeeds in a barely definable way. Bold, delicate, weird, beautiful.
All Night Stand-I have read Ray had been asked to write a song based on All Night Stand, which was a book by Thom Keyes. The song was written by Davies when a movie was in the works to be created, based on Keyes book, about an up and coming British beat band, loosely fashioned after The Beatles. It was written for The Thoughts for the movie.
And I Will Love You-The boys seem to be experimenting and that's a good thing. These types of songs lay the blueprints for some of the greater songs yet to be written.
Milk Cow Blues - Live At the Playhouse Theatre 1965 - BBC
One thing that has struck me looking through these albums so far, and particularly the BBC archives, The Kinks were a great live band. It isn't something you generally seem to hear about.
I mean with the Beatles, they hung the moon and were just wonderful at everything according to the general chat ...
The Rolling Stones get the kudos consistently about the world's greatest rock and roll band ....
The Who often get called the greatest live band, and all that stuff ...
and I'm not saying those things aren't true about those bands, but you never hear these things about the Kinks ... well I don't anyway, and from what I am hearing they are every bit as good as any of their more lauded contemporaries.
This is another excellent live Milk Cow Blues, that is unfortunately edited short ...
Never Met A Girl Like You Before - Live At The Playhouse Theatre 1965 - BBC
Again we get a solid performance from the guys. All the guys just hit the mark, with a spot on version of this.
Dave gives us a nice lead break, and I think the harmonies work very well too.
I Wonder Where My Baby Is Tonight - Live At The Playhouse Theatre 1965 - BBC
Are these recorded live without an audience?
Apparently Ray is playing the piano here.
Pete talks about the records
Till The End Of The Day - Live At The Playhouse Theatre 1965 - BBC
It also always strikes me how well the BBC seemed to record bands.... often better than their own labels and producers ... Some of the early sixties stuff, I sometimes think it would have been better for everyone if the BBC was the go to recorders of the bands.
A Well Respected Man - Live At The Playhouse Theatre 1965 - BBC
Another solid performance ...
Where Have All The Good Times Gone - Live At The Playhouse Theatre 1965 - BBC
Ray again sounds very solid on the vocals, and the harmonies come in well. The band is solid from start to finish.
The Kontroversy Period
So we come to the end of another period, with a solid album that can hold its own with any of the band's contemporaries. We had a single that is an all time classic, and extremely well known all around the world. We also had another series of outtakes and leftovers that for the most part could well have been included on something in some form, and certainly without disgrace.
The band had another album variation released in the US, but unfortunately, due to the touring ban, it didn't get the exposure it otherwise would have ... I wonder, was the title of the album a direct reference to this touring ban?
Somewhere during this period of time Ray Davies suffered a nervous and physical breakdown, caused by the pressures of touring, writing and ongoing legal squabbles.
Quaife was involved in an automobile accident, and after his recovery decided to leave the band. Bassist John Dalton, who was initially hired to fill in for the injured Quaife, subsequently became his official replacement. However, Quaife soon had a change of heart and rejoined the band, and Dalton went back to his previous job as a coalman.
So things weren't going altogether smoothly for the band, except that they kept producing top class music.
It is really quite an achievement for a very young band, that between the start of 1964, to the end of 1965 they released three solid album, each better than the last. There were five EP's two of which hit number one, and one which reached number three. They had eleven singles, six of which hit the UK top ten, and three which were top ten in the US, before the ban.....
Then there is Dedicated Follower of Fashion which just fell over into 1966 and went number one in England, The Netherlands and New Zealand ... also hitting number three in Ireland.
The thing is though, the band were just hitting their stride, in spite of all the setbacks. They are about to reach what most consider to be the band's golden era, and it starts off very well tomorrow with the band's biggest singles so far.
I’ve always appreciated this brief chat, as it’s the only solo interview with Pete while he was in the group. Note Pete still thought they had a chance of going back to the States in 1966 at this point.
Only number four in the UK (per the Record Retailer chart- don't know about the other UK charts).
I Believed You
I Don’t Need You Anymore
Don’t Ever Let Me Go
I Go To Sleep
Tell Me Now So I’ll Know
A Little Bit of Sunlight
There’s A New World Just Opening for Me
This I Know
This Strange Effect
Time Will Tell
And I Will Love You
All Night Stand
I’ve just listed them in the order they were presented in this thread. That's about sixteen months worth of demos and unreleased original songs (only a couple of them given away to other artists), all of them good, most of them great, some of them absolutely stellar. Be it by the Kinks in 1966 or by any current lo-fi artist this would be a hell of an LP. I know I'd buy it in a heartbeat.
Apologies again for being so pendantic, but to be exact Ray's nervous breakdown happened during the promotion of 'Dedicated Follower Of Fashion' in March 1966. I suspect that's why a promo video was made for the song not featuring the band as Ray wasn't around to promote it. The group did do a French/Belgian tour without Ray around this time, with Dave taking lead vocals and Mick Grace (The Glen Campbell of The Kinks? haha) from the Cockneys depping on rhythm guitar (on the left in the photo below).
Pete Quaife's accident and temporary replacement by John Dalton happened a little later in 1966, during the promotion of the 'Sunny Afternoon' single: the videos of the song from around this period tell some of the story of his absence and substitution, but we'll hopefully get to them tomorrow.
That's cool mate. That's why I said around this period
And I Will Love You A gorgeous extended daydream. The organ is a brilliant touch.
All Night Stand Another very good song, the Thoughts' version shows how great a finished Kinks song it could have been.
Ray was on fire with his songwriting. The sheer pace of musical change in the 1960s dictated that bands constantly move on and update their sound, so there was only a narrow window for songwriters to get their songs out there in the public eye before they were already out of date. That's my guess as to why so many great songs became out-takes or obscurities.
New post from Beat Club's YouTube page, Till The End Of The Day from 1966
There’s not much to say about today’s live tracks because what needed to be said was addressed when we discussed the individual songs. I’m glad the BBC released these nonetheless. What they reveal, if nothing else, is that by the time they performed them for the BBC microphones the individual numbers were more familiar to the band through live shows and further rehearsals. I suppose they are played with more confidence…although it can be hard to decipher too much of a difference at all between the Pye takes vs. the BBC.
Question: by absorbing all the commentary on the live BBC stuff along with these deluxe album re-issues, I assume we’ll not eventually be discussing the two BBC Sessions releases as a whole? Seems like everything will have been covered track by track by then.
As for summing up the Kontroversy era (including the summer/fall of 65 singles and EPs), after the release of the LP a punctuation mark can be put to note the end of the early phase of the band where its primary purpose—per the needs of concert promoters and record companies—was to create music that could be danced to. Moving forward into 1966 Kinks music emphatically existed to be a listening experience first, dance music secondary, if at all. Also, the lyrics have started to matter—that’s the reflection of the broader Dylan influence on pop music as a whole; the Kinks were certainly not immune to the effect of those kinds of doors being opened. Indeed, Ray proved himself to be among the more adept figures in pop music to move his band forward into the new era.
My understanding is they were handled like regular studio recordings, but done so live rather than layer multiple tracks and instruments from subsequent takes. But i could be wrong.
Beat, Beat, Beat - I'm A Lover Not A Fighter (1966)
Beat, Beat, Beat | The Kinks - You Really Got Me (1966)
Separate names with a comma.