Here Comes Yet Another Day. stereo mix (3:57), recorded May-Jun 1972 at Morgan Studios, Willesden, London Here comes yet another day, creeping through my window. Drank myself to sleep last night, beer stains on my pillow. I gotta pull my things together, The night can’t last forever. Here comes a new dawn, here comes a new day Tune up start to play, just like any other day. Can't stop, can't be late, mustn't make the people wait. Can't even comb my hair or even change my underwear, Here comes a new dawn, here comes a new day, Tune up start to play, just like any other day. There goes another night, here comes another flight, Can't stop gotta go, here comes yet another show. Gotta pack up my clothes, brush my teeth, blow my nose. No time to use the John, gotta keep a rollin' on. Here comes a new day, here comes a new stage, Tune up start to play, just like any other day. Made a lot of conversation, talked a lot of weather, I hope we meet again some day, and spend some time together. No time for affection, I'm moving in a new direction. Here comes a new dawn, here comes a new day, Tune up start to play, just like any other day. Can't stop, can't be late, mustn't make the people wait. Can't stop to comb my hair or even change my underwear. See that morning break, oh Lord, here comes yet another day, Here comes a new dawn, here comes a new day Tune up start to play, just like any other day. Written by: Ray Davies Published by: Davray Music Ltd. We open up the album with an organ, like we are entering the church of the Kinks, and then we burst into a double hit and the vocals come straight in. The title of the song somewhat brings us right into the predominant mentality of the album. We have Here Comes Yet Another Day…. Almost like a groundhog day mentality, of “oh no, here it comes again” … but in spite of that mentality, it is s surprisingly chirpy opening to the album. Lyrically we get what appears would have been a dose of reality, Ray has a hangover, but he has commitments. So, Ray went to sleep drinking, to such an extent that he has beer stains on his pillow. Here comes a new day and instantly, he has to tune up and start to play. No time to comb his hair, or even change his underpants, people are waiting for him to play some songs. Lyrically we have this perpetual motion machine of the music industry through the eyes of the performer. Play some music, meet some people …… Interestingly, made a lot of conversation, talked a lot of weather…. This gives the impression that the majority of the conversation was uninspired nothing chat. We get the line hope we meet again someday, and spend some time together, seems almost dismissive… it comes across almost like the eighties “have a nice day, you’re welcome” thing that were empty words designed to fill a spot without any substance or real meaning, but sound nice…. Not that there’s anything wrong with the words themselves, just that they are delivered as expected, but empty of any real meaning, and this is sort of backed up by the following lines “no time for affection…. I’m moving in a new direction”. Then we get a repeat set of lines that seem to be inserted to show the repetitive monotony of this existence. Looking more closely at these lyrics I see a very definite opening theme here, and it is based in the often referenced theme of empty repetition in the life of a celebrity. Wake up, meet commitments, play some music, talk crap with some journalists, get drunk go to bed, rinse repeat. Of course those of us in the trenches of a 9-5 job, or in fact a 4-6 job, get exactly the same kind of feeling, but none of the celebrity commitments are there, and often we are getting paid a lot less to do a lot more …. And in too many cases it isn’t something we love doing, but something we need to do, so we can eat, and live somewhere and groovy stuff like that. I guess to some degree it sums up what I have thought for a couple of decades now, no matter what the job, it is likely to end up being somewhat monotonous and repetitive. The job of rock star is apparently no different, no matter how we romanticize it from the outside. Musically I actually like this one quite a lot. Pay attention to Mick’s drums. Mick is really giving us some top class stuff here, and in fact from the very opening of the song Mick is dropping some great beats that accent the song really well, and also step up to be really interesting of their own accord…. For me at least. The opening verse has a lot of tacets, and we have Ray singing, Mick dropping those great drums, and merely a few double chord accents. As we move through the song though, the arrangement and the density grows a lot, with a few occasional dropped back sections. Some nice guitar licks in the left channel. I love the horn lines rolling feeling, and then the breakdown with the intermittent horn stabs is just great, to my ears. Some excellent bass when you get a chance to pick up on it too. Particularly in the little guitar, bass interlude. This song rocks pretty hard, and the momentum is excellent, even with the little breakdowns. I suppose to some degree the lyric could be seen as a little negative, but I don’t really hear it that way, for me it’s more a straightforward observation…. But the music is excellent and it has party and good time written all over it. I actually think this is an excellent opening to the album…. The drums, that horn line, the breakdown with the individual notes sounding off from different instruments…. I actually love this.
A perfect opening track to an album about the life of a touring rock band! And if the lyric is accurate, you can see why The Kinks could be a bit shambolic live!
As will become obvious as the weeks progress I don't like this album much, but this song is quite the perky little opener and is pretty catchy, if a little insubstantial. Beyond that, there are few things I care less about than the misery of being a famous rock band on the road.
I’m probably alone in this (not least cos this comparison will be pretty obscure outside the UK) but the insistent playground skipping rope rhyme and meter of this one plus the flapper-like vocal strangulations that are starting to inflect Ray’s vocal delivery have always oddly reminded me of Scottish 3 piece Bis’s 1996 Bratpop UK hit ‘Kandy Pop’, largely sung by the bob-haired Manda Rin:
Here Comes Yet Another Day: The first verse vocal, “Here comes yet another day, creeping through my window,” is a dead-ringer for Joe Walsh (“spent the last year rocky mountain way…”), so much so that I had to double-check my Apple Music source to make certain I didn’t press play on a Joe Walsh or James Gang record. I didn’t and it is, in fact, The Kinks. As soon as the song moves into the second verse, “here comes a new dawn…” the similarity with Joe is gone. After “change my underwear,” the horns come in…so, again I’m going back to my initial impression, first time through-listen, I’m thinking “aha, so this is what was being talked about earlier; the horns are going to be all over this album.” Moving along, “no time to use the john…,” hmm, gotta check on that term because I would expect Ray Davies to say “loo” rather than “john” in reference to the toilet. End result is that I thought it was an okay opener. Lyrically, changing underwear, using the john, blowing his nose…a bit too cutesy for me. But it’s okay. Note: further down the track list Ray does say “loo,” not ‘john.’
Here Comes Yet Another Day...serves as a good upbeat opener. Life on the road can get hectic and Ray lived it, Dave probably more so. I really like this number.
"Here Comes Yet Another Day" A very solid opener to the album. The star performer on this one is Mick - he really keeps things going with the restless urgency that the lyrics suggest. The cyclical repetition of the verses (or is that part the chorus?) gives the impression that each verse is the same thing in a different town. If I'm honest, I'd probably say that it's a little too long - maybe one iteration too much - but then Ray would probably say the same about the tours... I like Ray's vocal delivery, and the lyrics are amusing without being too precious. Regarding the john/loo issue - I'm assuming that this one is set on an American tour, hence the use of "john", whereas "Motorway" must be set in the UK (as the US doesn't have motorways), so using "loo" is appropriate there.
Here Comes Yet Another Day A perky little number, but not one I can get excited about. The horns are OK on this one.
Everybody's In Showbiz I believe, if I am not mistaken, that the album holds the 1970s record for number of songs containing mentions of french fries: 3. Lyrical exhaustion, anyone?
Live video, 1974. This song was a staple of the mid 70s live set, then disappeared forever thereafter:
On this, I think the band is better than the song. Gosling's Hammond is brilliant, the rhythm section's driven, driving, the best “in your face” playing Mick's done in quite some time and the bass even has the main riff/hook. As an opener, the contrast with 20th Century Man is huge, though. Without drawing too much attention to its ambition, that track was a very carefully structured epic, while HCY Another Day is meant as a straightforward scene setter and scene grabber. Like @Vangro, I’m not too crazy about the subject matter (though This Time Tomorrow is easily in my top 5 Kinks favorite songs, but let’s not go there, as it won’t put today’s track in the best of lights). The “on our boring way to our boring next show” lyrics are a little bit by the numbers (and "cutesy" as @Zeki said) and Ray's vocals are maybe too separated from the band for my taste, but the opening line is still very exciting and pulls you in with force and authority. You can’t help but go along. Well, I know I can’t help it, whenever I put the record on! One's got to admit it’s a song that, contrary to a lot of Ray’s best, don’t reveal a lot more under careful scrutiny. There’s not much more there than meets the ear. But it’s infectious and fun, excellent party music. And it sets the record straight (pun intended) : this one may be another loose concept album, but it’s certainly not going to be “conceptual” like Muswell Hillbillies was. Here comes yet another song, nothing too subtle about it, just buckle up, pump up the volume, and enjoy the ride !
Here Comes Yet Another Day Another great opener from our hero and the song's theme wouldn't have been out of place on the Lola Part One album, dealing as it does, with what the rock band on the road has to endure to "bring us (the fans) home some wine". The same could be said for quite a few tracks on this album. Love the sound on this. Love the sound on the album. Nice and meaty with thick bass.
I think "Here Comes Yet Another Day" is a strong opener to the album as many have noted above. I am particularly familiar with this song because there are a series of concert recordings on Wolfgang's Vault from 1972 and 1973 and this song was a regular inclusion in the setlist during that time.
Could something on this long player have been written (or first conceived) to be on a potential Lola part two album?
Someone else mentioned something about this earlier..... and really, it could well be Lola pt2 .... we're still talking about a band and the way the industry functions, so it lines up in that regard
I said it was somewhere between "Lola Pt 2" and "High Budget" (as we are still in the era of maximum consumption where the likes of Emerson, Lake & Palmer would travel in separate personalised trucks!)
Seems to look forward a little to Soap Opera as well to me. Oh, the trials and tribulations of a rock star.
Considering how close in time these two albums are I have often wondered if Ray had some half finished songs from the Part Two project which he set aside to concentrate on MH. Then decided to shelve the project but used some of those ideas for this album.
Here Comes Yet Another Day I find this track to be sort of bland. Not bad, but not up to what has come before. Despite repeated listenings, it has not grabbed me. Maybe because it is a little longer than it needed to be. The good news, for me, is that the album improves from here.
I wouldn’t want this album to be termed Lola Part II. As a fan, I was sympathetic to the plight of the taken-advantage-of struggling musician in Lola. I’m not quite as touched by, as you say, the “trials and tribulations of a rock star.” At least not yet.
