Got To Be Free Really enjoy the groove and vocal inflections and melody from 0.28 onwards in particular. Like our host I also didn't realise there was a theme that ran through the entire album from go to wow. I guess unless you look really closely it can seem tenuous at best with some tracks however that is not a criticism of Ray but more so the opposite as the links are there but even if one doesn't notice the songs are all strong enough to stand on their own! Now @mark winstanley , i am not perfect on my Kinks discography timeline so is it the next album that has the supersonic pocket ship?
I missed the first 100 pages because I wasn't paying attention so will have to go back when this is all over. At one stage I did try to go back and keep up to date simultaneously but it was futile. If only there was more than 24 hours in each day. Or, to be more precise, 23 hrs 56 mins.
I came to this conclusion about ten years ago. I got lazy. Like everything else, the less effort I put in, the less reward there was lol
If you move your base of operations to Mars you will gain an additional ~40 minutes per day plus more than 300 extra days per year. You should catch up pronto.
Anytime stereo mix (3:32), recorded 1 May 1970 at Morgan Studios (1), Willesden, London You can walk outside On a crowded street People pass you by And no one stops to speak And when you haven't got a friend And the world's falling down around you And you need someone to care Anytime you're down Anytime you're sad I'll be there to see you through Anytime you're down And you're all alone Come on by and be my friend Anytime you're down Anytime you're sad I'll be there to make you glad But we are very small And need someone to talk to And we need someone to care Anytime you're down Anytime you're sad I'll be there to see you through Anytime you're down And you're all alone Come on by and be my friend Anytime you're down Anytime you're sad I'll be there to see you through Written by: Ray Davies Published by: Carlin Music Corp. So this was recorded May 1st 1970, which would make it technically the first song recorded for these sessions, that has been released, so far as I can tell at least. Powerman was recorded 6th and 7th of May, and Lola 9th and 10th of May, and everything else was started in August. So it makes me wonder if Powerman and Lola sparked the idea for the album, and perhaps that’s why we get a three month break before the guys come back with some fresh songs that somewhat work into a theme. This song seems obviously disconnected from the theme of the album, but could be seen as somewhat similar in theme to Strangers (25th Aug), and perhaps Long Way From Home (11th Sep). We have a nice theme in the lyrics that we all need a friend, and the world isn’t generally going to provide one on the streets of our town as we are walking through it, because everyone is already off busy doing something, and the fact that a person you pass by may be in pain is very unlikely to attract most people’s attention…. So Ray lets the subject of the lyrics know that anytime they are down, give me a holler, I’ll be there for you. It’s really just as simple as that, and as important as that also. This song languished in the vaults until 2014 I believe, and again we see the quality of the songs Kast Aside by the Kinks. We open with a really sweet melodic lead guitar that introduces us to the song over the drums and bass, with a swelling organ holding down the bed. Although not a fast song, it isn’t as lovey dovey or soft as just reading the lyric may suggest. I either haven’t heard this much, or I haven’t heard it before, and it is a very easily digested track. The heart of the song is the beautiful wandering melody. The chords progression rolls on backwards, for much of the song, as the band likes to do, and although the chords are very nice, Dave still plays them with a bit of kick and bounce. There’s a bit of grit on the guitar and it moves between clucky chords and some nice little lead fills and arpeggios. The organ keeps on swirling underneath, and the bass is holding it down. Dalton doesn’t seem to be getting too busy here, but that really just shows that he is focusing on the song. There are still some really nice little melodic runs. Mick is keeping it fairly straight too, but we still get some nice little fills and link bits that add just the right amount of punch. It’s funny (particularly after yesterday’s chat) but this song kind of sounds like Paul McCartney meets Procul Harum or something along those lines. Not that it particularly sounds like either, but it has a feel that seems reminiscent of that kind of sound. We get some excellent backing vocals, and Ray even throws in some nice rasp in a couple of vocal parts. Most of Ray’s vocal is very straight and emotive rather than acted, and to some degree that seems like the main change on this album, and perhaps from these sessions. Ray has reduced the amount of time he is singing in character, and just giving us a clear and sincere vocal. Perhaps he had grown more confident in his voice? The delivery is generally quite gentle and comforting. again we get Ray and Dave singing together extremely effectively, and it is a highlight of this slightly new sound by the band. In typical Kinks fashion we get some subtle modulations that roll us through a few different modes or keys and take us on this aural journey. I think the melody here is excellent and keeps the ears tickling as we move along. The little instrumental break in the middle also works well, with some lead guitar, and the organ swelling more and more as we move back into chorus/refrain section. Certainly a very good song that could well have ended up on an album. To me it seems like a strong track to just discard, but as seems to be the case over the period of time we have looked at since very early on, the quality of songs rejected is often higher than the quality of songs included for most bands....... It is interesting to sort of imagine a Kinks album from the Pye years that is made up solely of unreleased tracks, probably starting with I Go To Sleep, and rolling on through to this one. I mean there is probably an album worth of material just from The Kinks are The Village Green Preservation Society.
Anytime This is a much better song than warranted by being left in a box for a few decades! I guess Ray felt it was too slight - by his standards the lyrics are soft and one-dimensional. Still, it’s a pretty good song to listen to, with Dave quite busy on guitar - in a good way. One line in the lyrics “but we are very small” made me think of Shangri-la, where Ray refers to “the little man who gets the train.” In both cases Ray is saying they are just ordinary people.
When Anytime was unveiled a few years ago, I was floored. It almost never happens that such gems remain in the vaults un-bootlegged for 40 years. It’s always a great experience to hear an unknown track by one of your favorite bands, but we usually get them in a crappy sound first. As an official release, Anytime was of course pristine in every way, and it’s a perfectly finished track. Dave’s guitar intro may be the best part of it, his tone quite similar to Pete Ham’s on Badfinger’s Without You, released on No Dice, the exact same day as Lola (whose cover girl would’ve made a splendid Lola for the Kinks’ artwork, by the way). The rest of the backing track is a drums-bass-guitar fest, everybody on superb form, the band’s playing and arrangement sounding a bit in-between Arthur and Lola. For instance, the way Dave’s guitar seems to “comment” and dialogue with the vocal melody throughout is very Arthur. But the main reason I feel this way is the absence of piano. Could it be that John Gosling had yet to enter the scene? Dave’s backing vocals are 100% Lola, though. The tune is catchy as hell, almost to a fault, it's so straightforward, somehow lacking the subtleties of Ray’s most accomplished compositions, but it’s definitely memorable (in the sense that it has settled deeeep in my brain since this morning!). I agree Ray’s delivery is not theatrical, but it’s not really natural either, more like he’s making a conscious effort to give color, scope and rock power to his performance, because he understands the tune is a bit more generic than usual. These are not criticisms, I guess I’m just trying to figure out how such a fine ultra-mainstream charts-friendly song could’ve remained in the vaults for so long (Ray’s reportedly said it was « too commercial » for his taste). It would’ve made a splendid early 1970 stand-alone single. As far as its non-inclusion on Lola, my guess is it could’ve been written for the Strangers spot (same theme) and then dismissed because clearly surpassed by Dave’s cult classic.
Am I right in thinking that this was first released on the Lola/Percy 2 CD set? If so, it's amazing that such a good track remained unreleased for so long!
I didn't know that 'Anytime' was actually recorded BEFORE the rest of the LvsP&tM album! That kind of puts a different spin on it if it pre dates the album concept.. seems likely it was maybe another attempt at creating a commercial surefire comeback hit that was then discarded/forgotten when Lola raced ahead and then as the LP took shape. I feel that 'Anytime', although it would have been very strong as a standalone probably wasn't uniquely pertinent enough to make the cut for the LP. @Fortuleo mentions (and Mark alludes to) how if included on the LP this could have taken the 'Strangers' spot.. I was thinking the other day of this and how it's interesting that an all-Ray version of the LvsP&tM album could easily have been issued with 'Anytime' replacing 'Strangers' and 'The Good Life' replacing 'Rats' (the fact that the last line of 'The Good Life' seems to directly set up 'Apeman' means it was surely written for this spot!) but that on this occasion Ray chose to include his brother which probably in most peoples assessment resulted in a greater end product: I think most would agree that 'Rats' is at the very least a more distinctive track than the potboiling bluesy shuffle of 'The Good Life'.. 'Strangers' vs 'Anytime' could be seen as a closer match song for song, but I think that 'Anytime' sounds too anthemic and resolved to really work that well in that place that early in the album.. it would peak things far too soon.. whereas 'Strangers' has that unwritten ghostly 'setting out on our as yet unknown journey' vibe that fits a treat as track No.2 Still kinda wish they'd used 'Anytime' as the B-side to 'Apeman' at least.. it would have made a brilliant closer for their astounding run of Pye As and Bs when listened to in order..
Got to be Free: Along with being a metalhead, and also obviously a fan of the kinks, I also happen to like country, so I do enjoy the beginning of this song (unlike many of you) as much as I enjoy the rest of it. It’s a great closing track, tying everything together and, as often noted above, bringing it also in a full circle to the beginning of the album. Overall, Lola vs… turned out to be just a fantastic album song for song. …and as we are about to see… Anytime: It even had some brilliant songs that they had left in the vault (as always it seems). Mark mentioned in his essay that it reminded him a bit of Paul McCartney and Procol Harum, and I have to agree. To me it has a bit of an anthemic Hey Jude type quality to it (with a little Maybe I’m Amazed thrown in there too) coupled with A Whiter Shade of Pale. It’s a beautiful song both musically and lyrically. Although a close call, I would also have left it in the can and used Strangers instead if Anytime was ever up for consideration for that particular second song slot. Great tune though, glad it was finally given a release, even if just as an obscure bonus track 50 years later!
Anytime: this is the first time I’ve heard this song and my initial impression is ‘good.’ What is this on? A deluxe Lola? Or a compilation?
Anytime Honestly, this is a bit of a plodder. Combined with the undistinguished lyrics, and I didn't really miss this one. Do love some of the guitar work, though.
Anytime First listen for me moments ago and i assume it is a Lola outtake yes? Pleasant song, great sentiment but I tend to agree with another poster who suggested it to be a touch generic. Listening to Dave's lead lines makes me think of how far he had come in that he absolutely had developed his own recognisable signature sound and that is very significant as plenty of fine guitarists never quite manage to do this. Incidentally a few times he plays a 3 note line which reminds me of a lyrical part he did later on and I think it is on the live 1980 release of Celluloid Heroes.
"Anytime" Also the first time I've heard this. It's a fine song which most bands would be proud of producing (particularly Oasis!). It would have fit sonically onto the album. However, I feel it's just a little ordinary - a notch below the songs which did make the album. I think it's right that it was left off, but it's still good enough to have justified a release at some point within the subsequent 40 years. Dave is in particularly good vocal form on this one.
