The Kinks - Album by Album (song by song)

I knew I'd heard Raymond complaining on this topic before! Seriously though, I'm pleased that Ray is still able to follow his muse and keep working on the things he enjoys, I'd just rather he got together with Dave and Mick (or Bob) and look down the back of the Konk sofas (where they presumably have been sitting) to find and finish off the tracks to make another Kinks album from them. While they still can.

 

In this interlude…. There’s a new Kinks best-of compilation out on streaming services- quite comprehensive but a jumble, chronologically; more like a playlist. Alas, don’t be fooled by the still-erroneous label that says Dead End Street is the elusive 2014 stereo mix: it isn’t! Available in hi res for download, for those who do that, at the usual places.

Carry on!

 

34 songs/1 hour 56 minutes. Dec. 3 release ‘The Best of the Kinks’

 

The Journey

Love the opening and then we get a grand sonic build up which is good and fine but as has said the overall arrangement is shockingly stock standard for Dave Davies and I am not complaining.
The title reminds me of latterday Small Faces.

 

Shadows

Someone mentioned the chords sounding like LZ III and I also hear a few Pagisms in the single string lead work.
Some good playing here and I enjoy it more as a whole the The Journey.

 

The Kinks – Golden Hour Of The Kinks Vol. 2



Produced by: Shel Talmy, Ray Davies
Release date: 5 Oct, 1973
Record label & catalog #: Pye/Golden Hour GH 558
Country: UK
Format: 12" vinyl LP (album), 33 1/3 RPM
Release type: Compilation
Description/Notes: stereo and simulated stereo

Side 1
1. Wonder Where My Baby Is Tonight simulated stereo (1:58), recorded 16, 17 Feb, 1965 at Pye Studios (No. 2), London
2. Don't Ever Change simulated stereo (2:22), recorded Dec 1964 at IBC Studios, London
3. Got Love If You Want It stereo mix (3:49), recorded late Aug 1964 at Pye Studios (No. 2), London
4. Come On Now simulated stereo (1:45), recorded 22 or 23 Dec, 1964 at Pye Studios (No. 2), London
5. I'm Not Like Everybody Else simulated stereo (3:29), recorded probably Jan 1966 at Pye Studios (No. 2), London
6. Something Better Beginning simulated stereo (2:23), recorded 22 Dec 1964 at Pye Studios (No. 2), London
7. Dancing In The Street simulated stereo (2:18), recorded 15-17 Feb, 1965 at Pye Studios (No. 2), London
8. Just Can't Go To Sleep stereo mix (1:58), recorded 17, 18, 24, 25 Aug 1964 at Pye Studios (No. 2), London
9. Long Tall Shorty stereo mix (2:48), recorded late Aug 1964 at Pye Studios (No. 2), London
10. Got My Feet On The Ground simulated stereo (2:13), recorded 15-17 Feb, 1965 at Pye Studios (No. 2), London
11. It's Alright simulated stereo (2:35), recorded mid-Jun, 1964 at Pye Studios (No. 2), London
12. Don't You Fret simulated stereo (2:41), recorded probably 6 Aug, 1965 at Pye Studios (No. 2), London

Side 2
1. I Need You simulated stereo (2:24), recorded 14 Apr, 1965 at Pye Studios (No. 1), London
2. Such A Shame simulated stereo (2:17), recorded probably 14 Apr, 1965 at Pye Studios (No. 2), London
3. Look For Me Baby simulated stereo (2:13), recorded 16, 17 Feb, 1965 at Pye Studios (No. 2), London
4. Ev'rybody's Gonna Be Happy simulated stereo (2:14), recorded 22 Dec, 1964 at Pye Studios (No. 2), London
5. Wait Till The Summer Comes Along simulated stereo (2:06), recorded probably 3 May, 1965 at Pye Studios (No. 2), London
6. Beautiful Delilah stereo mix (2:04), recorded late Aug 1964 at Pye Studios (No. 2), London
7. Naggin' Woman simulated stereo (2:33), recorded 15-17 Feb, 1965 at Pye Studios (No. 2), London
8. Cadillac stereo mix (2:41), recorded late Aug 1964 at Pye Studios (No. 2), London
9. I Gotta Move simulated stereo (2:24), recorded 17, 18, 24, 25 Aug 1964 at Pye Studios (No. 2), London
10. So Long simulated stereo (2:08), recorded 15-17 Feb, 1965 at Pye Studios (No. 2), London
11. Nothin' In The World Can Stop Me Worryin' 'Bout That Girl simulated stereo (2:42), recorded 16, 17 Feb, 1965 at Pye Studios (No. 2), London
12. You Shouldn't Be Sad simulated stereo (1:59), recorded 16, 17 Feb, 1965 at Pye Studios (No. 2), London
13. Stop Your Sobbing stereo mix (2:05), recorded 17, 18, 24, 25 Aug 1964 at Pye Studios (No. 2), London

Liner Notes

The Kinks first came together in 1961 when two London-born brothers, Ray and Dave Davies decided to form a group that would, they hoped, supplement their meagre income as art students. They didn't, at that time have a lot going for them, except their inbred enthusiasm and genuine musical talent for rhythm and blues.

As it turned out The Kinks never needed anything else to make them a success because with the writing talent of Ray to provide them with hit after hit and the natural ability of the group to give of their best on stage as well as on record, they've become a steady fixture in the world's pop chart positions. Heady sales figures give a clue to their early days, particularly between 1964 (the year of their first Silver Disc 'You really got me') and 1970. For during those years The Kinks notched up no less than six silver discs in Britain alone and earned a Gold Disc for 'You really got me'.

The Kinks ability to survive the changing tastes and trends of the pop world gives them a unique standing today in the musical world. They're no longer the same group of individuals who embarked on a musical career nearly ten years ago and certainly their music has changed. But the very elements that first brought them success have remained and are captured on this album by a band who have truly earned a place in the history books of British pop music.

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An interesting compilation for 1973.
I haven't got it, nor would I be likely to get it at this stage, but it is an interesting collection of earlier songs.

Pye certainly seem to be trying to keep their stock turning over.

I don't really have much for this really. It sort of reminds me of the Elvis Camden releases, there's nothing particularly wrong with the songs on there, but they end up being a little redundant for the fan who buys the albums. I guess to some degree here there were likely songs not available on albums for fans back in the day?

Anyway, please give us any info you see as important about this release.

Cheers
Mark

 

The Time Song.

Time lives our lives with us
Walks side by side with us
Time is so far from us
But time is among us

Time is ahead of us
Above and below us
Is standing beside us
And looking down on us

When we were young and our bodies were strong
We thought we'd sail into sunsets
When our time came along
Now that we're nearing the end of the line

Time has changed, time will heal
Time will mend, and conceal
In the end everything will be fine

And if we concentrate
Time will heal all the hate
All in good time

We go on, drifting on
Dreaming dreams, telling lies
Generally wasting our time

Suddenly it's too late
Time has come, and can't wait
There's no more time

We go on, drifting on
Dreaming dreams, telling lies
Generally wasting our time

Suddenly it's too late
Time has come, and can't wait
There's no more time

Written by: Ray Davies
Published by: Davray Music Ltd.

At this stage I believe this is only available on the Village Green box set.

This is a beautiful lyric, that floats on a beautiful, old timey feel piece of music.

We have a sort of waltz on the piano, that is accented by smooth backing vocals that fill out the sound. On top of this we have Ray laying down a wonderfully mellow vocal, that has all the reflective qualities that the lyrics put forward.
Oddly I could hear several seventies crooner type singers doing covers of this track, it is just a really appealing song, and musical backdrop.

It kind of feels like it should be a from, or theme song to, a movie. I'm sure @ajsmith can tell us if it was.
I can totally see why this was placed on the Village Green box set, because this song, although probably written at a different point in "time" feels almost like it could be a coda to the ideas being put forward on the album, in many ways.
I don't really have an awful lot to say about this one, but it is a delightful little song, that pleases me.

 

The very idea a tune called Time Song, deliberately set to a beautiful out-of-time arrangement, would generate such a time paradox when finally released never ceases to amuse me. A 1973 song released in 2018 as part of a box set dedicated to a 1968 LP, what a supreme kinksian ironic move, especially after other outtakes called "Anytime" or "History"…

 

A good compilation, and I'm curious to see that many of the tracks were in 'simulated stereo'!

 

This is a fantastic track and hearing it was the final push I needed to get the VGPS box. The only thing that annoys me is that the mix on the box is a bit different to the video mix that Mark posted, which I prefer. Maybe that can go on a Preservation 1 & 2 SDE....

 

Time Song: I am traveling again today, so I’m going to have to keep this short. That’s too bad, I think this song is brilliant. In his usual fashion, Ray manages to capture a complex concept that impacts us all, the impact of the passage of time on the human life cycle, with an economy of words and in a very short amount of time. The theme is similar to the one that Pink Floyd tackled in the similarly titled “Time“. They do a great job too, I’m not knocking Floyd’s song (which I think is brilliant too), but it did take them three times as long to make the point! How a song this amazing sat gathering dust for 40 years is astounding.

 

How could they cram that many songs on one LP ???

 

So true. What a lovely, lovely tune. It sounds a lot like a Harry Nilsson song, somewhere between A Little touch of Schmilsson in the Night (the old-timey crooner style) and Knnillssonn (the “watery” female vocals backdrop foreshadows the arrangement of All I Think About Is You, the opening song of that sublime 1977 LP). There always was a connection between Harry and Ray, in my mind at least, even though there’s no exhibit of them knowing each other or talking about each other’s work. But I know I was drawn to Harry’s work (especially his first three records) through this resemblance. They share the melodic invention, the music-hall leanings, the humor, the easygoingness etc. (also of note, at 1’30’’, the background vocals do the Sha-lala’s of Gainsbourg’s la Javanaise, which @The late man and @Discojoe will probably appreciate as well).

The waltz time gives this a kind of show-tune quality, or to be more precise a mix between a show-tune and a country artist's holiday song. Ray’s singing is fantastic, double tracked I guess, and his phrasing particularly outstanding, especially in the first verse, full of repetitions, assonances and alliterations. The very fact that such a gem, exquisitely composed and performed, remained unreleased for so long is just another proof (if needed) of what we were saying yesterday and will say again tomorrow: the Preservation sequence is the moment where song craft in itself becomes secondary to Ray’s narrative and conceptual vision. Some outstanding songs will definitely emerge from those narratives, of course, but some of the best ones (and Time Song is certainly one of them) will be discarded for 45 years, if he feels they don’t fit for whatever reason. I’ll admit I have difficulties to understand how he could feel comfortable with not sharing such beauties with the world but as we all know since Blind Willie McTell, sometimes those guys just don’t seem to care too much about that…

 

It’s simple. Reduce overall cutting levels and EQ away the bass. You can also do a load of dynamic compression so the low levels don’t result in a noise problem. When you are willing to throw away quality, all sorts of amazing things can be accomplished.

As it turns out, side one, for example is “only” about 31 minutes long as many of the songs are quite short. Forty minute sides are no unheard of.

Deciding How Long To Make Each Side Of Your Vinyl Record — Masterdisk .

 

'Time Song' was written for the earliest version of the Preservation concept, which started in early 1973 as a belated attempt to realise a full stage production of the Village Green Preservation Society album (this had been talked about in 1968/9 as some kind of panto performed by the original group when the album was new but never materialized), re imagined with updated arrangements of some old VGPS songs supplemented by newly written ones on similar themes. Some of the newly penned songs made it onto the Preservation Act 1 album that was released at the end of the year, but by that point the project had strayed greatly from how it was originally conceived. (I can't help thinking that the crisis and near death experience Ray went through halfway through that pivotal year had a lot to do with the project changing tack so much).

'Time Song' was one of the new songs that had been written for the early 1973 VGPS reboot version of the Preservation idea that didn't end up making the cut for Preservation Act 1, hence it being shelved until 2018, where it was unearthed and promoted into being almost the almost the 'new' lead single to promote the VGPS box set, with an animated video as posted by Mark above and limited edition 7" release and all. Some were disappointed and called foul when they discovered this brilliant new song used to promote that classic 1968 album actually hailed from 1973, but as it was originally written to accompany some of the original VGPS songs in a reworking of/first attempt to stage that concept just half a decade later, I don't think it's inclusion is anywhere near as egregious some have claimed (certainly a lot less that some of the questionably tangential inclusions on the Arthur box!).

I think it helps to see how Time Song is meant to sit within this early 1973 transitional version of the VGPS/Preservation concept that's neither one or the other to post the set list for the Kinks 14th January 1973 show at Drury Lane, which was intended to be a trail run for the reworked VGPS work and was part of the Fanfare For Europe series to UK concerts meant to celebrate the UK's entry into the European Market. I suspect possibly the Kinks were asked to do this gig first and that led Ray to the idea of revived VGPS as it pertained to the UK and it's place in geopolitics. The Drury Lane show was a big deal art the time that used visuals like projected slides as well as the newly added brass section to bring the songs new and old across as a fully integrated conceptual show, and it garnered rave reviews at the time. No visuals seems to exist, but I think a bootleg audio at least is at large. However the BBC 1973 Kinks In Concert TV show that Mark has already posted to this thread was filmed very shortly after and is essentially a cut down version of the Drury Lane show, unfortunately with most of the interesting setlist inclusions (save the reworked VGPS title track) omitted. Anyway, here's that Drury Lane set:

The Village Green Overture
I'm Going Home
Victoria
Dedicated Follower Of Fashion/A Well Respected Man/Sunny Afternoon/Waterloo Sunset (medley)
Lola
Have A Cuppa Tea
Acute Schizophrenia Paranoia Blues
Cricket
Mr Wonderful
Alchohol
Village Green (instrumental)
Where Are They Now?
You Really Got Me/All Day And All Of The Night (medley)
Picture Book
People Take Pictures Of Each Other
Time Song
Salvation Road
The Village Green Preservation Society
Celluloid Heroes
Here Comes Yet Another Day
Louie Louie/Hang On Sloopy (medley)

 

.. and you may note that there is one other new song on that setlist that didn't make it onto Pres Act 1, 'I'm Going Home'. (sadly not exhumed for the VGPS box like 'Time Song' was). A poor quality audio presumably from the Drury Lane show, is on Youtube though. It sounds like a fairly generic upbeat rocker with loads of harmonica. Not gonna blow any minds probably but I bet it would it would be properly enjoyable if heard in decent quality.

 

"Time Song" sounds like a fragment from something bigger to me, I think there was still some work to do before it was the finished article. It does sound like Harry Nilsson too!

 

"Time Song"--reminiscent, in feel, and in Ray's vocal timbre, of "Marathon" from Piano Player.

 

Thanks for posting this. I had never heard it before. Poor recording aside, it sounds slightly like it was reworked into Soap Opera’s “Can’t Stop the Music”

 

a good friend , guitar player in the long term band we played in , gave me this album(kinks greatest hit vol 2) years ago as he knew i was a kinks fan. i image he got to explore and didn't find them to liking , i of course still have it in my collection. he also gave me a cd of david bowie live @ the beeb , again probably exploring bowie and knew i was a fan etc.

 

Golden Hour Of The Kinks Vol 2


I haven't seen this track listing for many years and I think I only had three of the tracks when I bought the album. That would be the three tracks on side 1 which were also released on the Hallmark Lola album. So, for that reason, I did buy it but I had to return it as there was a technical issue with my copy - two tracks didn't have a vocal! I taped the others, returned the record, got my money back and never bothered buying it again.

Not nearly as good as the first release in the series, or the last, and the only Vol of the three.

 

Very easily if sound quality isn't an issue.

 

I did have a copy of the Golden Hour of the Kinks Vol. 2, which was a benefit back in the day since it compiled many of the songs that were on the early albums, which were hard to find and/or too expensive. That is where I first heard "I Need You" & other obscure goodies. So it did have its place & need.

"Time Song": As Avid Ajsmith pointed out, it was originally written for the 1973 reworking of VGPS, which essentially morphed into Preservation Acts I & II. It's a very pretty song with an undercurrent of melancholy.

 

What a statement. It sounds like it came out of a Simpsons episode.

I do hear the similarities between the two songs.

 

Time Song

When I got used to Ray's loose meter and how it did fit the song I came to enjoy it more and more as he sang so sweetly (and matter of fact) his observance of a weighty topic as if his voice was carried through the air on the breeze observing no boundaries.
Somehow it has me thinking all Beatle-ish in terms of John's tone and acceptance in Across The Universe, the flight of the bird in the Free As A Bird clip & some incidental instrumental moments from Paul's When I'm 64!
Ray aside I love Goslings work here, he plays with great care and is so religiously delicate I'd swear he was a Baptist apart from all that "Time" drinking!