Sadly, that's how I still feel about the song, to which I would add 'a bit of a bore for an opener'. There's also a whiff of twang - Mark's identified Randy Newman-esque vocals and some of the guitar, which puts me off a bit as well.
"Schooldays" It's a logical starting point for the album, and acts as an introduction to the theme without being tied to it. The songs on this album are generally either 50s pastiches or 70s AOR, but this is the only one that seems to have a foot in both camps. It starts off gently with just Ray and the piano - in a similar way to the opening of the next album - and much of it sounds like it's preparing for that album with its mellow feel, but it also feels like it's teetering on the edge of going into a doo-wop pastiche at any time. However, it stops just short of that, and the phasing effect on the vocal and guitars, plus the organ keeps it in rock ballad territory. It's a track that always sounds better when I'm actually listening to it rather than remembering it in my head, as my memory tends to accentuate the 50s aspects at the expense of the song's other qualities. It's not my favourite on the album, but a good opener.
I'm prepared to feel very lonely today but this is my favorite post-1971 Kinks song. From the get go, this wonderful passing chords intro, it was love on first listen. It starts like the best piano ballad Ray ever wrote, but then turns into something different. I do hear the pseudo-early doo-wop'n'roll waltz pastiche, it’s definitely there, but oh so slightly, just to anchor the song with a bit of time frame context. And yes, that's something Randy Newman used to do a lot, and also Elton John in some of his melodic blues based chord structures (I've Seen That Movie Too comes to mind). It adds sub-text (or rather sub-musical meaning) to a wonderful set of very direct lyrics, incredibly straightforward and heartfelt, especially con Ray in his theater years. The words, the melody, the instrumental backing, Dave’s harmonies, his guitar counterpoints (just marvel at his tasteful descending lick at the 1’50’’ mark, where he hits the most surprising yet musical notes possible), everything is on point, to the point, poignant, almost visceral. As such, it’s also indirect evidence of something that was lacking in the previous records: even a singer and writer of Ray’s magnitude can’t really convey the same level of emotion when under the umbrella of humorous distance and made-up characters. He can act, like the best of them, but pop music also has an element of putting yourself on the spot, in plain sight, with your heart on your sleeve, showing your genuine personal feelings, expressing yourself. You can’t always hide behind satire, wit, social critique, vaudeville and observation. Even when you’re the very best at it. There’s something in the way he sings this sublime song that screams that he’s unusually committed, really exposing himself, his own sense of nostalgia, his own fondness for his childhood. I think school days are not the real subject : he did hate school, regulations, teachers and uniforms. But at the same time, school happened when he was a child (sing it with me, please). And that’s the main reason why I've never bothered looking into the “Preservation prequel” thing: this song, my favorite on the record and beyond, has nothing to do with Flash for me, and all with something more profound. Just listen to these opening lines “If ever you think about / the happiest days of your life / Cast back your mind for a while / And remember the time when you were a child.” This is devastating in every way, so simple, so exact, so precise, not only the words but how the melody finds its way through and within those very words. The modulations on that “ha-ppiest days of your li-ife” line, incessantly coming back to the dominant note, and then again on “mind” and “child”, is like an insistent recurring note of melancholy, coming back and back again, an unstoppable reminiscence. Just the openness and wonder in his voice when he pronounces the word “child” is spine chilling. “I’d go back / if I could only find a way”: that’s Ray Davies’ theme phrase right there. 100% immediate, no pretense, no filters, no humor. Nothing but truth.
"Schooldays" is the weakest on the album for me, musically unexciting and a bit like you've arrived too late at a play. What an odd way to start an album. Once the track settles into the chorus, it's quite okay and does a good job of setting the scene. But otherwise, the sooner it's over the better...
Schooldays: a pleasant, rollicking, opening track with the band back. A bit predictable but at least it’s The Kinks again.
It was, according to the interwebs: AC/DC - Can I Sit Next To You, Girl And now, back to the Kinks I guess
I think of Randy Newman when I hear "Schooldays" because it is difficult for me to take at face value and I keep thinking this song must be a satire and the lyrics must be ironic. It's a nice enough song but its sentiments do not line up with that album cover!
Schooldays: Wow, what great insights to read from folks this morning! I never put together that Newman connection but you guys are spot on; just like Ray, when the topic is something he cherishes, the song is always a thing of beauty. I don't know that I go as far as Fortuleo to put this as my favorite Kinks song post-71, but I like and respect that answer, and I can't think of an easy counterexample. I'll have to ruminate on that! One thing I really like about this is his "flaming Junes". I see writing the post that "Flaming June" is a painting. I'd never heard that phrase before, but it's beautiful.
Schoodays Not yet read Mark's review though just listened to this twice. In style and tone not so unlike Soap Opera material to me though I find I am not actually missing June Ritchie. This is sweet, sentimental and more believable that it's Ray singing Ray than most all of previous record even if he's not! Dave is for the most part reigned in but I have it on good authority from around these here parts that that is about to change. Edit: We have of course heard that this album concerns Flash so I had been thinking just who at school would he envy or despise and rail against so before i unveil the obvious I have just read the start of @mark winstanley 's overview with him being a straight A student passing the lot and the captain of the (football) team so the question must be asked not unlike the big reveal at the conclusion of the previous album!!! Q. Are you David Watts?
Schooldays Musically, its like something that wouldn’t be out of place is “Grease,” right? Whether that’s a compliment or criticism depends, I suppose, on how you feel about “Grease.” Vangro is spot on here: For the record, though, I'm not critical of predicability. I know where every Chuck Berry melody is going to go, too, and I love Chuck Berry. And 50's rock in general. But 'predictable" is the correct way to characterize Schooldays musically. Lyrically, Fortuleo has given us a lot to chew on. He’s on to something with this… I’ve always felt something with this song without having a burning need to get down into the weeds of the lyrics to understand why. Possibly it is Ray’s torch song delivery—the strength of the performance rather than the strength of the song. It’s subtle, but effective. I also note a shared sentiment with “Village Green,” a desire to return to the past: “I would go back if I could only find a way” sounds right coming from a songwriter who once vowed to return to “simply laugh and talk about the village green.” But Village Green is a much, much, much stronger song, musically, lyrically, and it’s overall insight considering its context, i.e. 60’s London rock star having the clarity to not be swallowed up by fame and success, but, rather, long for the innocence of his origins. Schoolday’s, by comparison, is somewhat trite, relatable to everyone (we were all young once, right? and we’ve all been to school, right?) The identical titled song from the vaudeville era—once a standard, but largely forgotten today—offered similar youthful reflections. Ray’s is not a particularly original or earth-shattering take in that regard. Overall, it’s nice enough but fails to transcend from good to great song.
Schooldays A nice song. A bit subdued for an opener, but I do like Dave's guitar and especially like the Dave harmonies. The Ray/Dave harmonies have been few and far between over the RCA years. I like the stripped down sound.
Schooldays Musically, this wouldn't sound out of place on Percy. I love the sound of Ray and Dave's harmonies....they get me EVERY time. Some of Dave's backing guitar tones around the 1:20 mark are a highlight to me, during this section: Schooldays were the happiest days of your life But we never appreciate the good times we have Until it's too late. Musically, I don't see it quite as predictable as some of you. The introduction verse is actually the bridge... since it comes back (to me, rather unexpectedly) with the When I was a schoolboy... section. At first I thought the intro verse was like a pre-amble, because it has a very different feel compared to the blues groove once the verse proper comes in. Randy Newman has been mentioned often, but maybe because he was also brought up recently, am I crazy to imagine Ray Charles singing this song too? Lyrically, it has been mentioned by @Martyj about the similar sentiment to Village Green, but I think there is also a parallel to Moments here: Don't think of things that make you sad, Just remember all the good times that you had. ...seems awfully similar to the sentiment of: Let's forget about all the things that we've done wrong Just remember all of the things that we've done right Like that song, I don't think this is really satirical. I think it's about focusing on the good times (where have they all gone?), and WANTING to erase the bad times. But we can't. Those bad memories are ingrained and aren't going away. They affect us to do this day. They shape who we are, and in the case of Moments, can ruin a relationship... and in the case of Schooldays, they can ruin the good memories we may have too. And we can sort of be in denial about those days truly being the happiest. If we could only block out the bad parts, then they would be.
I think you would have found more Aussie accents here in the 80s in the wake of Crocodile Dundee and Men at Work.
The Randy Newman comparison: I’m lost on this one. Don’t hear it at all. Edit: which means I get to stay in the car while the rest of you are told to get out.
Ray in full-on wistful rembrance mode. And why not? He had just turned 30 and back then that was ancient in the rock world. Plus the Kinks were entering their second decade (11+ yrs in 1975 when it was recorded) and this was everything 50s was white-hot here in the States. Happy Days and by '76 joined by Laverne & Shirley ruling TV, Grease reigning on Broadway, and even Sha Na Na would soon have a popular syndicated TV show. So Ray's timing was perfect it seemed to do a high school-themed set in 50s concept album. Except it flopped and from the ashes of the ambitious RCA years would arise the Clive Davis/Arista era. This is a nice song and at times I hear Ray sounding like Rick Danko which along with the feel gives a sort of the Band vibe. It's a song that could close an album but instead opens this one and sort of sets up the storyline.
I just can't believe that I was in the middle of my own schooldays when I first heard "Schooldays". It's not a rama lama beginning for the album (the second song will do the honors), but it's a nice beginning. As for the lyrics, it's like when I talk to my older colleagues at my library job about how Salem was back in the day & how we miss certain places and stores. Another person said that Salem was basically a run down economic backwater then. I replied that may have been so, but we choose to remember what we want to remember from back then. I want to remember going to the Athens Bakery for its fresh bread, hanging out at Almy's Department Store or Ted Cole's Music Store or the Record Exchange (I can still do that) or the used book stores that were all over downtown back then. I also want to remember hanging out w/certain people from my high school days more than high school itself, which I disliked mainly. It's just like Ray says, we choose to remember what we want to remember and I would go back if I could only find a way. I agree w/the last sentence of Avid Ex-Fed's entry. I think a few years later, that "certain stripe of young person" would have become a Smiths fan.
It went to #45 in the album charts, not exactly a smash hit, but not a flop either. It was probably the Kinks' best selling RCA album.
I don't even remember... Since I've been it the US I have been asked if I am from England, Scotland, Ireland, New Zealand, Mississippi, The French Quarter in Louisiana (using a term I'm not sure is polite, so I won't use it here) and more often than not it is "where are you from?" With a very quizzical look... Some folks recognize the accent, but most don't, and it is about as Perth, Western Australia as it's possible to be. It's rather odd..... folks seem surprised I've been here 11 years, but it's not like my accent is going to disappear this far into my life lol
I've seen him interviewed and he has a Scottish accent, but he might be one of those people who uses different accents depending on who he's talking to - like John Martyn.
I was thinking more in a general way how Aussie isms crept into our knowledge, i.e. that Aussie paste that Men at Work mentioned in one of their songs (malminite or something like that), the "shrimp on the Barbie" cliches, rather than the specific accents of the members of Men at Work.
