The Kinks - Album by Album (song by song)

Discussion in 'Music Corner' started by mark winstanley, Apr 4, 2021.

  1. GarySteel

    GarySteel Bastard of old

    Molde, Norway
    Eddie Philips was a monster. As @All Down The Line has already sorta noted. Too bad they never made it big.

    Funny thing that Shel Talmy produced them (not Them), the Who and our heroes and fell out with all of them in some way or other.

    Trying hard to be slightly more on topic, I think that "Nobody Gives" (a toss, crap and other more explicit variations) is one of the hidden highlights of the record. Mainly because of the arrangment.
    Last edited: Jan 8, 2022
  2. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    I looked at that a dozen times, and wondered.
    I thought it was Cochran, but I looked at the face shape, and thought "well it could be Dalton", and it was labelled Dalton..... che sera sera
  3. Vangro

    Vangro Forum Resident

    "Nobody Gives" reminds me of "20th Century Man" a bit: anthemic and slightly too long but at least it's pretty rocking and everyone is really going for it. Musically it's another highlight of the album.

    Lyrically it would work if Ray was trying to demonstrate how hopelessly naive and ineffectual the thinking of liberals/centrists like the Tramp is at times of extreme national crisis. I fear however the Tramp is merely acting as Ray's mouthpiece, in which case, is Ray suggesting that sitting down an having a good old chinwag with Herr Hitler might have averted all that nasty business in World War 2? That really worked for Neville Chamberlain, I must say. Mentioning Hitler and the Nazis at all was a bad move, are they representing the Right here? The General Strike mention is a bit less egregious but still problematic because I'm not sure Ray has a clue what he's singing about and finds time, yet again, to indulge in more of his tiresome Union-bashing. Fundamentally though the General Strike and World War 2/the Holocaust, are these in any way remotely equivalent?
  4. Fortuleo

    Fortuleo Used to be a Forum Resident

    Thank you @mark winstanley for the explanation of the multiple-entendre of the "nobody Gives" phrase, I felt it was there but didn't really get the first meaning, about being obtuse and not letting go. I speak for the non-native english speaking contingency here, it was much needed, because yes, it seems to be the whole point of the song : "nobody gives" as in "they won't give up on their convictions and demands" (the 1926 crisis) becomes "nobody gives" as in "no ones gives a damn about anything anymore" (as in "they can kill jews, intellectuals and 'ineffectuals', we'll look the other way"). Ok, makes sense.
    Like @Vangro, I still wish Ray'd refrained from the Hitler couplet, though. Just after the wiping and killing of them all, we get the "I'm listening to both sides / why can't we talk it out etc." bridge. I'm sure at this point, in Ray's mind, the meaning is back to the fictional Black vs. Flash situation. But it's rather clumsy, as it could easily be interpreted as a comparison between the 1926 union crisis on the one hand and WWII's final solution on the other. Or at least as a "left and right are both equally wrong" statement which sounds absurd, frankly, given the examples he himself chose… So yeah, I'm convinced in the author's mind, the whole idea resides in the "nobody gives" play on words : if we don't "give" in order to find a compromise (like in the union crisis), it can lead us to totalitarianism, which is always accompanied by the second meaning of that nobody gives (…a ****) phrase.
    Now that's an interesting idea: if you hold on to your beliefs too strongly with no intention to find a common ground and valid solution, it'll lead to some form of fascism and different kind of "solutions", that may very well be final. But there's at least a link missing in those lyrics to bring this point across fittingly and not open the door to other interpretations.
    I still think confusion is often good. I like my artists to be "confused", lost, ambivalent, like horses kicking in all directions, and examining it. But in this case, Ray's not so much confused as he is confusing, while attempting at a kind of universal truth and grandiose statement.

    And grandiose is an apt term. Musically, the song's epic. It's the first real mini-suite (not medley) in Ray's œuvre since Arthur, and it's very cleverly constructed. We get this beautiful acoustic melody, sung by the Tramp as an epigraph, in a troubadour vein. Then the slow-burn heavy stuff starts, and the intro melody comes back as a chorus of sorts, with completely different lyrics every time but with the same catch phrase/hook to anchor it. And then, after the whimsical-turned-monumental progish bridge, the same melody serves as a big furious epilogue. Structurally, this is masterful. Musically, it's brilliant, with some of the best bass and drums on the whole record (the heavy separated @Michael Streett bass is back in action, full force), a piano and clavinet (?) fest courtesy of Mr Gosling, and Dave working out and commenting in his own little guitar world, like he also did on many Arthur tracks. I love the play on the You Really Got Me type-riff at the end, when the Tramp (vocally) and the band (instrumentally) become really exasperated by what they've just uncovered, this whole "no-o--o-bo-dy-gives" (except them!) situation. This massive track, with its complex structure, its rich strings arrangement, its unusual length, proves to be one of the most overtly ambitious things Ray ever did. He clearly thought he was making an important dramatic point, not sitting in the midday sun this time but actually taking a stand. It was more than he could grasp, maybe, as many've said through the years about this whole Preservation endeavor. But like the entire project, the fact that I don't find it entirely successful or satisfying only endears it even more to me. One of my very favorite artists trying his hardest to achieve greatness, that's something I won't ever take for granted. At some point, when Ray'll stop doing that for a while in his later career, I will greatly miss this unreasonable creative hubris.
    Last edited: Jan 8, 2022
  5. CheshireCat

    CheshireCat Forum Resident

    On the 45Cat website, it seems it is the first UK demo version with 'Cricket' on the 'B' Side which is the version pressed in France. The Kinks - Mirror Of Love
    EDIT: Sorry, after reading further through the thread, note it has already been mentioned.
  6. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Cheers mate, you took what I was trying to get at and clarified it much better than I
  7. CheshireCat

    CheshireCat Forum Resident

    Mirror Of Love
    Well, Ray is letting us know lots about Flash, now we get to find out how he behaves in the bedroom! And it's not pretty.

    If Ray was intending this to be seen as a musical, he really should have let Belle sing this one. With a greater vocal cast (throughout the album) it may have worked more as a 'soundtrack album'. Ray and his control freakery...

    As for the song, it's not a favourite, and not one I'd have chosen as a UK single (twice in two different versions a few weeks apart). Someone must have believed in it!

    Nobody Gives
    Nice to have the Tramp back again, I was missing him/her. One of the better songs on the album which builds nicely from its slow, quiet start, a historical account which seems to say that history shows that if people do nothing, dictators can take over and get away with it. They just blame each other or someone else. Tramp is wishing for some middle ground to be found between the two camps - presumably this is directed towards our two musical protagonists, and not finding some middle ground with the Nazi's.
    As can be seen with current politics in parts of the world, it seems to have moved to extremes, and as our tramp tells us, it probably won't end well as has been shown throughout history. Let's find some middle-ground between Flash and Black. But nobody gives a damn, so the extremists can continue their plotting, either in the bedroom or the attic! And get away with it until its too late. Perhaps.
  8. Zeki

    Zeki Forum Resident

    Nobody Gives: A track that can be listened to outside of the context of the musical theater. If I’d heard this in 1974 it would have sounded good …and fit right in to the rest of my music world.

    Lyrics are heavy duty. I agree with @Fortuleo , the why-can’t-we-talk-it-over, right after the Hitler reference…no, I don’t like the placement.

    But it’s a typical pretty mainstream rock number. I’ve put it on my playlist but find myself waffling, still thinking about it just because (other than the lyrics) it is fairly generic.

    (The Creation. I know the band being referenced includes a ‘The’ in the name but ‘Creation’, to me, is a Japanese band that I saw in concert in Tokyo. Felix Pappalardi & Creation. Played a very, very long ‘Nantucket Sleighride.’)
  9. Fortuleo

    Fortuleo Used to be a Forum Resident

    I don't think it is generic. The structure of it is too intricate, with many twists, turns, rhythmic changes, mood shifts and elaborate (if flawed) rhetorics, that are beautifully complemented by the music to be called that. But it's true we can hear some of the era's stylings along the way, like the little piano break at the 3'00 that has 1973 Brick Road Elton written all over it, or the surprising solo Beatles undercurrent of the track (it has the acoustic intro of Wings' Wild Life, the bass heavy / heavy blues sound of Let Me Roll It and the sweeping orientalizing strings of Lennon's #9 Dream, while being contemporary to all of them. It's always fascinating when things like that are made in parallel, without influencing each other, just because of synchronicity. Or maybe they were all generic in a way ?
    Last edited: Jan 8, 2022
  10. Brettlowden

    Brettlowden Forum Resident

    Rochester ny
    Thats a really cool song. Thanks for posting. I love stuff like this
  11. The late man

    The late man Forum Resident

    Nobody Gives

    I've never been very much at ease with this song. I agree 100% with @Vangro and others about the irrelevance of the historical examples chosen.

    As a matter of fact, I happen to be an ontological centrist, I hate conflict and I'd sell my mother for a good compromise that preserves my peace (well, not literally, of course, or at least I would exact some guarantees that she would be treated kindly and respectfully by the buyer). So this song should please me. But it doesn't, for a variety of reasons. First, I find it embarrassingly preachy. Second, I find it suspiciously libertarian (it's ok to be a libertarian, but I'm not one of those). I hear the underlying idea that if people were listening to each other and freely engaged in moral contracts with one another with a generous spirit, everything would be alright. This reaches a libertarian level of economic naiveté, which I believe to be very high (but it's my opinion, I give it only to explain my reaction to the song).

    The thing is, the 2 historical examples chosen are precisely those for which the "Nobody Gives" thing doesn't work. It's obvious with Hitler, and I suppose, like other Avids, that Ray's intention was not to act as a neutral referee between democracies and nazis. @Fortuleo's explanation is very generous to Ray (refusal to talk leads to the rise of extremes), but I'm afraid the point sounds more like bluntly faulting the nazis for being monsters instead of nice guys.

    But the "nobody gives" stuff is also debatable in the context of social strife. Workers and employers are not equals, and companies are not going to raise wages just because the workers ask nicely. This was the reason why strikes happened. And this led to the post-Second-world-war Western world, where, precisely, institutions regulated the negociations between unions and employers, which gave birth to... this very Welfare State that Ray dislikes so much, and which, in a way, consists in institutionalized mutual giving. It's true that social risk pooling tends to diminish private generosity, and that's a valid point (and one I initially thought the song was making, mistakenly). But overall I think it's confused and confusing, as was said.

    All in all, this is a rare case where the words spoil an English song for me. And the music, though pleasant and extremely well-played, is not quite good enough to redeem the lyrics. So Nodody Gives ends up as one of the best songs on my "dump album" from the Preservation years. I must say the tracklisting also bears part of the responsibility : from "Mirror of Love" to "Flash's Dream", there is a streak of 4 sub-par songs (in my opinion) that lack the support of neighbouring highlights, and this overlong bridge crumbles apart before I get to the other bank (that is, Flash's Confession).

    The Hitler embarrassment made me think of a French Comedy, OSS 117, in which actor Jean Dujardin camps a ridiculous fake French James Bond exemplifying everything laughable in 1950s/1960s France. In the second movie, he chases nazis in Brazil (if I remember correctly), and at some point he declares that he dreams of a world in which both the Jews and the Nazis would have their own State (I can't find it on youtube, and I don't remember the exact words). The comical effect of absurdly setting the criminal and the victim on both pan of the scale is also found in Nobody Gives, but it's unvoluntary.

    I already thought of "OSS 117: Lost in Rio" a few days ago, when commenting on "Scum of the Earth" : in the movie, the nazi character also takes on the Shylock monologue, to draw pity on his fate as a nazi.
    Last edited: Jan 8, 2022
  12. Fischman

    Fischman RockMonster, ClassicalMaster, and JazzMeister

    New Mexico
    Nobody Gives

    Musically Epic!

    We start with that tender, plaintive first verse where the light strumming of the acoustic guitar is so far in the background that the vocal may as well be a capella. That someone who doesn't have a technically powerful or beautifully timbred voice can so brilliantly deliver in this setting still amazes me.

    Then we bust in with the dirty blues distortion guitar and thing start building. And then they really get rocking.... such momentum!

    Some songs give us cool riffs. Some songs give us fantastic melody. This song builds to the point that it gives us both simultaneously, the two propelling each other until the song reaches its glorious climax.

    As for the words, Ray not only makes this a centerpiece of his story, but seems to foreshadow the state of the world going on a half century later:
    Why can't we sit down and work out a compromise,
    Why not negotiate and try to be civilised?
    I'll tell you why, because nobody gives a damn.
    Nobody listens and no one will understand.

    DISKOJOE Boredom That You Can Afford!

    Salem, MA
    "Nobody Gives"-It seems that Ray gives the best songs on this album, as well as the previous one, to either The Tramp or Mr. Flash. As I said previously, it gives a bit of potted history in its description of the 1926 General Strike. As for the second example, perhaps Ray should have focused on WWI instead, where everyone involved should have talked after Sarajevo instead of rushing to put their armies in place & eventually causing a bloody & destructive war which eventually, through its botched ending, gave rise to Hitler & his Nazis.
  14. All Down The Line

    All Down The Line The Under Asst East Coast White Label Promo Man

    I think I heard of that group as Rolling Stone said something along the lines of it being one of the least successful Italio/Japan collaborations since WWII!
    mark winstanley, Zeki and DISKOJOE like this.
  15. Zeki

    Zeki Forum Resident

    Ha ha. Really? In Japan it was released as Creation with Felix Pappalardi. In the US, the other way around. I just googled this a.m. and found it. March 28, 1976. At the Budokan. 11-12 minute ‘Nantucket Sleighride’ right after ‘Theme From An Imaginary Western.’ I was there! Second concert in my life (first was Neil & Crazy Horse a couple of weeks earlier. Also at Budokan). RS Record Guide, red one, had something about ‘skinniest rockers’ if I recall correctly.
  16. Vangro

    Vangro Forum Resident

    There is a connection in that (Mr.) Churchill was heavily involved in both the General Strike and World War II, though the former was not exactly his finest hour.
  17. markelis

    markelis Forum Resident

    Miami Beach FL
    Mirror of Love/Nobody Gives: Both of these songs turn out to be a case where the requirement of listening to each song individually for this thread, in a vacuum from the rest of the album, bears fruit. Although I’ve listened to the album now a good 15 or 20 times through, even with a fair number of those listens being rather intently, slowing down and focusing on these two particular songs caused me to elevate them from good to quite good.

    To some extent, the failure of these songs to win me over after numerous airings may be due in part to the fact that this is such a long album with so many songs that by the time I get to this point in the album my attention may have wandered bit. Forcing myself to focus in on the song as a stand-alone work brought home the quality of these two songs for me.

    I prefer the two-man version of Mirror of Love, but I like the long brass intro and the sound of the full band version enough that I’m going to include both versions on my playlists.

    As far as Nobody Gives, It’s a good epic build up leading to some very nice frenzied guitar work from Dave. I like Ray’s vocal delivery, and many of the rhymes are clever, but I’m not blown away by the lyrics like I often am by a kinks song. It gets a B from me and will show up towards the end of the playlist.
  18. Zeki

    Zeki Forum Resident

    I’m listening to my short-list and humbly take back my use of the term ‘generic’ for ‘Nobody Gives.’ It’s a shoo-in for the playlist.
  19. stewedandkeefed

    stewedandkeefed Came Ashore In The Dead Of The Night

    "Nobody Gives" is pretty epic - I hadn't paid much attention to Act II (never saw a vinyl copy - got it in the CD era) so some of these songs had kind of slipped by me. I can't say that I ever understood this song before but reading the lyrics and context on this thread helps a lot. I really like its sound - generally liked the sounds coming out of the UK in the first half of the seventies. The guitar and piano stand out the most for me. Also listening to the songs on a daily basis saves you from being ground down by the whole Preservation concept and lets you focus on how each song appeals to you. I must admit that my previous experience with Preservation was that I admired Ray for being so ambitious but I was not particularly enamoured with it all. This thread has helped me appreciate the larger themes at work in Preservation.
  20. Zeki

    Zeki Forum Resident

    I couldn’t help but think how inquisitive (and searching) Ray was during this period. It’s very clear that he’s reading history books and, as described in the song ‘History,’ spending time in museums. Here in ‘Nobody Gives’ he gives us a further glimpse into his research, studies and lingering questions.

    Lyrics below taken from ‘History’:

    I said can you show me the way
    To our national history museum
    I've got so many questions
    To ask all the people, about our history
    I hope I get some of the answers
    To all of my inquiries
    And I hope I find out who's responsible
    For all of our history
    I didn't get any answers
    And it's still a mystery
    What became of all of the people
    That vanished in history
    And it keeps on calling me
    Through the cobwebs and catacombs
    and dusty old tombs
    Surrounding our history

  21. Martyj

    Martyj Who dares to wake me from my slumber? -- Mr. Flash

    Maryland, USA
    Nobody Gives

    I’ll get the good out of the way first: performance-wise, the band is playing as fine as ever. Nice fills—I expect nothing less from these boys, seasoned veterans they are at this point. And Ray’s in good voice.


    The song? I’d have to revisit Uk Jive and Think Visual to confirm it, but this just might be my least favorite Ray Davies original. Certainly, my least favorite up to this point going back to his earliest efforts.

    It’s been a while since I’ve taken the time to dissect a song at length on this thread. But I love almost everything by the Kinks, so it’s worthwhile for me to try to understand when a song falls so flat on my ears. Especially when many Avids here are finding positives. I recall a podcast I heard once where someone commented on the Preservation play as a whole. He didn’t care for it, but fingered “Nobody Gives” as the only good track. So why have I never been able to get on board with this song?

    At the time this LP came out, Ray had been writing songs professionally for 10 years. He was at the absolute height of his craft. Lyrically he was industry-wide recognized for the depth of insight expressed in a highly personalize way, often saying a lot with little, and hitting on universal truths that resonated with listeners. Musically, his songs were nothing if not rich with memorable hooks and melody. His is a near McCartney-level gift. Perhaps not all his melodies are of his origin—he does have a magpie-like tendency to snatch a bit of someone else’s work here and there—but it ultimate all gets folded together into memorable ear worms that are uniquely Ray Davies. The songs on the Preservations LP’s have been particularly strong in that regard. Chock’ full o’ ear worms. I can hum it all….

    …except “Nobody Gives.” To quote the next song in the line-up, Where O’ Where is the melody? Sure, I can hum it, but there are none of the surprises or delightful turns that I have grown accustomed to with his work. The hooks are MIA. Whatever tune is suggested by the chords become the melody with little derivation, no ups and downs that bring me pleasure when I try to recall it. I guess that’s just it: I can recall Ray’s other works in my head, and they are very tuneful. Heck, I can even hum the tune to “Bald Headed Woman,” and he didn’t even write that one! “Nobody Gives?” I have to put the record on to hear it again if I want to remember how it goes. I find it frustratingly forgettable. The best thing I can say for it is it has slightly more melody than an announcement.

    The fragmented arrangement approach—which works so well on “Shangri-La” and the upcoming “Artificial Man”—is hampered by no single section having a particularly distinctive or memorable melody. The start plods. Once the meat of the song begins it makes not much more effort than to assign the tune whatever note is suggested by the chord. Half way through a melodic call back to “Introduction to a Solution” gives me a bit of hope that the song might achieve lift off, but—nah—it’s just a transition to up the tempo. Here’s where the string orchestra comes in. Could dressing it up with orchestral embellishments be because upon playback Ray recognized the song wasn’t quite coming together and it needed help? I’m just speculating. The only other place on the LP strings are used—quite effectively, I’ll add—is Artificial Man. That’s Ray for you: ever pragmatic, as long as one is paying for orchestra time in the studio.….. In the last third we get an instrumental interlude. It’s okay, but generic. It follows a basic 12 bar template. A bit like one of the lesser instrumental jams on Percy.

    And then there are the lyrics and their context within the Preservation play framework:

    Mark’s pointing out the double-entendre of just who “gives” is not complicated to me. I understood that with first listen. And as Forteleo points out, it’s not a bad conceit. The problem is the clunky way it evolves: two long (over a minute each) history lessons (it seems like he really wants to figure out a way to incorporate the “Showbiz” reject “History” idea into a song, somewhere, somehow) that suggest these examples could have been avoided had factions compromised and if the people it affected had only cared (as if oppressed people don’t?) It’s a fairly naive assessment…but I don’t fault that if the song were written for a naive character. But it’s not. These are the sage-like musing of the village dreamer, the Tramp, who was set up from the start to be the common sense everyman who keeps a steady head while the world around him is going insane.

    That’s the thing. This song has the feel—and the length—that it is supposed to serve as the epic centerpiece of the Preservation work: the point where the sage-ish Tramp—that wise fool on the hill, seeing and hearing it all with his “what fools these mortals be” insight—is supposed to bring it all together and reveal to us why this is important. Yet there is no deep insight. Just an obvious platitude, whining that two warring factions won’t listen to each other.

    With this, it becomes apparent how much the Tramps passive observance is working against his best interest. So much for his contentment in enjoying the midday sun while “…seeing the people shouting at each other…” He’s transitioned from being the relatable everyman to a frustratingly passive victim while the waters around engulf him. The listener’s takeaway of the Tramp has become: “Oh man, I hope I’m never as clueless as this guy turned out to be.” That this moment on the record is followed by another Tramp song (a fun one, I should add) where he choses to wallow in reflecting on the old days only reenforces that he has not been the wise observer, but the ostrich with his head in the sand. And in the larger picture it serves as a statement--unintended, no doubt-- on the folly of the preservation ethos in general. Clearly that was not Ray’s intent—even if that is the point of the work—nor do I for one second believe that is Ray’s genuine, personal sentiment. If it is, he’s made fools of us all for taking to heart The Village Green Preservation Society.

    At this point it becomes obvious just how unnecessary the Tramp character has become per the way Preservation evolved. I wonder if his absence from the stage show—where Ray and Co. were forced to jettison the songs that were holding the show down—was an acknowledgement of this fact, or perhaps just part of the practical logistics of keeping the staging and running time in manageable order? I don’t know. It could be both…but that’s a discussion better suited for the stage show itself if the thread decides to have one.

    Overall, with this songs failure, in my mind it feels like padding. Ray had boxed himself in by committing to a double LP to finish off what he started with Act I. It evolved into a morality play for Mr. Flash. But he found he didn’t have enough material. To fill things out he brought back the character who turned out wasn’t needed anymore (no more than Johnny Thunder at this point in the plot) just so he could include “Where O’ Where is Love?”, which was a reject holdover from Act I. Still needing more padding, he wrote “Nobody Cares.” Maybe that’s not how it happened—he likely wanted the Tramp to have a ‘centerpiece” song all along—but it’s what it feels like to me.

    And a final thing that fails me about this song? It abandons the sense of fun that pervades elsewhere on the album (and, indeed, through out most of the Kinks catalog) Even the most serious plot moments through out Preservation capture the Kinksian lyrical and musical levity. A crusade against loose morals in “Shepards of the Nation” is delivered with wit. The villain faces his comeuppance in “Flash’s Confession” with whimsical, musical textures. And only the Kinks can make an upcoming doomsday moment of a mad scientist turning people into robots such fun (well, I suppose Zappa could do it, too.) “Nobody Gives” feels like Ray calls a halt to the party, asks for everyone to be quiet and pay attention: Forget about all that frivolity. I am now going to get serious for a moment, because this is the important part… That he does this while dressed as Max Miller makes it all the more, well…unconvincing.

    I get a sense that the Avids who are finding merits in this song’s structure and arrangement are perhaps coming from the perspective of musicians, who are recognizing nuances that escape my non-musician detection. But I’m just a fan whose come down hard on this song for the ways it doesn’t connect with me. Honestly, I want to like it. I just don’t. I’ve listened to it a lot over the years, trying—hoping—to find something that will make me change my mind. As as 12:45 est, on January 8th in the 2022nd Year of Our Lord (take THAT, Wondergirl!*) I’m still waiting.

    (* Just kidding, Wondergirl)
  22. palisantrancho

    palisantrancho Forum Resident

    "Nobody Gives"

    The lyrics may be slightly clumsy and parts come off as a bit of a stumble, but if you listen casually to the lyrics they have good intentions. It has similarities to "There's no time for fussing and fighting my friend". The Beatles were more optimistic and Ray is saying it might not be possible because "Nobody gives a damn anymore" and "Why can't we sit down and work out a compromise?". I wonder if he had The Beatles song in mind when he wrote down his own "Why Can't We Work It Out"? The bass and drums with piano recall the album Madman Across the Water and then the strings come in which sends it into Blue Moves territory. The Elton vibe is strong throughout the entire tune. I love the vocals and music during the "We'll work it out if we try" part. If he split this up into three acts, this would have been a perfect closer for Act 2. It's a song that many 70s music fans would love if it wasn't buried in a sprawling double album. I also just noticed that the guitar riff at the 5:00 minute mark is almost identical to "Buick McKane" by our often mentioned T.Rex boogie man.
  23. The late man

    The late man Forum Resident

    I give my blessing to this post.
  24. Vangro

    Vangro Forum Resident

    I suspect he'd have failed any History exam though. He would have done well on the Swinging Sixties though.
    mark winstanley and Zeki like this.

    DISKOJOE Boredom That You Can Afford!

    Salem, MA
    I doubt that. He was asked once about what he remembered about Swinging London & he replied something about the color (colour for you UK Avids) of Graham Nash's socks or some such nonsense :laugh:

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