The Kinks - Wikipedia

10/10/2019 The Kinks - Wikipedia
The Kinks
The Kinks are an English rock band formed in Muswell Hill, North
The Kinks
London, in 1964 by brothers Ray and Dave Davies. They are regarded as
one of the most influential rock bands of the 1960s.[1][2] The band emerged
during the height of British rhythm and blues and Merseybeat, and were
briefly part of the British Invasion of the United States until their touring
ban in 1965 (as a result of constant fighting between the brothers). Their
third single, the Ray Davies-penned "You Really Got Me",[2][3] became an
international hit, topping the charts in the United Kingdom and reaching
the Top 10 in the United States.[4] Their music was influenced by a wide
range of genres, including rhythm and blues, British music hall, folk and
country. They gained a reputation for reflecting English culture and
lifestyle, fuelled by Ray Davies' wittily observational writing style,[2] and
Original line-up in 1965. From left:
are considered one of the most influential groups of the period.[1][3][5]
Pete Quaife, Dave Davies, Ray
Early works included albums such as Face to Face (1966), Something Else Davies, Mick Avory.
(1967), The Kinks Are the Village Green Preservation Society (1968), Background information
Arthur (1969), Lola Versus Powerman (1970), Muswell Hillbillies (1971),
Origin Muswell Hill,
along with their accompanying singles. After a fallow period in the mid-
London, England
1970s, the band experienced a revival during the late 1970s and early 1980s
Genres Rock, pop
with their albums Sleepwalker (1977), Misfits (1978), Low Budget (1979),
Give the People What They Want (1981) and State of Confusion (1983). In Years active 1964–1996,
addition, groups such as Van Halen, the Jam, the Knack, the Pretenders 2018–present
and the Fall covered their songs, helping to boost the Kinks' record sales. Labels Pye · Cameo ·
In the 1990s, Britpop acts such as Blur and Oasis cited the band as a major Reprise · RCA ·
influence.[1] Arista · London ·
MCA · Columbia
Ray Davies (lead vocals, rhythm guitar) and Dave Davies (lead guitar,
· Koch ·
vocals) remained members throughout the band's 32-year run. Longest-
Guardian ·
serving member Mick Avory (drums and percussion) was replaced by Bob
Universal
Henrit, formerly of Argent, in 1984. Original bass guitarist Pete Quaife was
replaced by John Dalton in 1969, and Dalton was in turn replaced by Jim Associated acts Nicky Hopkins ·
Rodford in 1978. Session keyboardist Nicky Hopkins accompanied the The Mike Cotton
band in the studio for many of their recordings in the mid-to-late 1960s. In Sound · Argent ·
1969 the band became an official five-piece when keyboardist John Gosling The Creation ·
joined them, being replaced by Ian Gibbons in 1979, who remained in the The Kast Off
band until they broke up in 1996; a result of the commercial failures of Kinks
their last few albums and creative tension between the Davies brothers.[6] Website thekinks.info (htt
ps://thekinks.inf
The Kinks have had five Top 10 singles on the US Billboard chart. Nine of
o/)
their albums charted in the Top 40.[7] In the UK, The Kinks have had
seventeen Top 20 singles and five Top 10 albums.[8] Four of their albums Members Ray Davies
have been certified gold by the RIAA and the band have sold over 50 Dave Davies
million records worldwide. Among numerous honours, they received the Mick Avory
Ivor Novello Award for "Outstanding Service to British Music".[9] In 1990, Past members Pete Quaife
the original four members of The Kinks were inducted into the Rock and John Dalton
https://en.wikipedia.org/wiki/The_Kinks 1/25
Roll Hall of Fame,[2][3] as well as the UK Music Hall of Fame in November John Gosling
2005. In 2018, after years of ruling out a reunion, Ray Davies and Dave Andy Pyle
Davies announced they are working to reform the Kinks.[10][11] Gordon John
Edwards
Jim Rodford
Ian Gibbons
Contents Bob Henrit
History Mark Haley
Formation (1962–1964)
"You Really Got Me" and American touring ban (1964–1965)
Critical success (1965–1972)
Theatrical incarnation (1973–1976)
Return to commercial success (1976–1986)
Decline in popularity and split (1986–1996)
Solo work (1996–2018)
Reunion (2018–present)
Live performances
Musical style
Legacy
Members
Discography
Charts, sales certifications and recognition
See also
References
Citations
Sources
External links
History
Formation (1962–1964)
The Davies brothers were born in suburban North London on Huntingdon
Road, East Finchley, the youngest, and only boys, among their family's
eight children.[12] Their parents, Frederick and Annie Davies, moved the
family to 6 Denmark Terrace, Fortis Green, in the neighbouring suburb of
Muswell Hill.[13] At home they were immersed in a world of varied musical
styles, from the music hall of their parents' generation to the jazz and early
rock and roll their older sisters enjoyed.[13] Both Ray and his brother Dave,
younger by almost three years, learned to play guitar, and they played
6 Denmark Terrace, the childhood skiffle and rock and roll together.[12]
home of the Davies brothers. The
The brothers attended William Grimshaw Secondary Modern School (later
front room is where the family's
frequent Saturday night parties were merged with Tollington Grammar School to become Fortismere School),
held. where they formed a band, the Ray Davies Quartet, with Ray's friend and
classmate Pete Quaife and Quaife's friend John Start (although they would
also be known as the Pete Quaife Quartet, if the bass player landed a gig for
them instead). Their debut at a school dance was well received, which encouraged the group to play at local pubs and
bars. The band went through a series of lead vocalists, including Rod Stewart,[14] another student at William
Grimshaw,[15] who performed with the group at least once in early 1962.[16] He then formed his own group, Rod
Stewart and the Moonrakers, which became a local rival to the Ray Davies Quartet.[14][16]
In late 1962, Ray Davies left home to study at Hornsey College of Art. He pursued interests in subjects such as film,
sketching, theatre and music, including jazz and blues.[17] When Blues Incorporated played at the college in
December, he asked advice from Alexis Korner, who recommended Giorgio Gomelsky, the former Yardbirds manager,
who put Davies in touch with the Soho-based Dave Hunt Band, a professional group of musicians who played jazz and
R&B.[18] A few days after the Ray Davies Quartet supported Cyril Stapleton at the Lyceum Ballroom on New Year's
Eve, Davies, while still remaining in the Quartet, joined the Dave Hunt Band which briefly included Charlie Watts on
drums.[19] In February 1963, Davies left Dave Hunt to join the Hamilton King Band (also known as the Blues
Messengers), which had Peter Bardens as pianist.[19] At the end of the spring term he left Hornsey College with a view
to study film at the Central School of Art and Design, around this time the Quartet changed their name to the
Ramrods.[20] Davies has referred to a show the fledgling Kinks played (again as the Ray Davies Quartet) at Hornsey
Town Hall on Valentine's Day 1963 as their first important gig. In June, the Hamilton King Band broke up,[20] though
the Ramrods kept going, performing under several other names, including the Pete Quaife Band, and the Bo-Weevils,
before (temporarily) settling on the Ravens.[3][21] The fledgling group hired two managers, Grenville Collins and
Robert Wace, and in late 1963 former pop singer Larry Page became their third manager. American record producer
Shel Talmy began working with the band, and the Beatles' promoter, Arthur Howes, was retained to schedule the
Ravens' live shows.[22] The group unsuccessfully auditioned for various record labels until early 1964, when Talmy
secured them a contract with Pye Records. During this period they had acquired a new drummer, Mickey Willet;
however, Willet left the band shortly before they signed to Pye.[21] The Ravens invited Mick Avory to replace him after
seeing an advertisement Avory had placed in Melody Maker.[23] Avory had a background in jazz drumming and had
played one gig with the fledgling Rolling Stones.[23]
Around this period, the Ravens decided on a new, permanent name: the Kinks. Numerous explanations of the name's
genesis have been offered. In Jon Savage's analysis, they "needed a gimmick, some edge to get them attention. Here it
was: 'Kinkiness'—something newsy, naughty but just on the borderline of acceptability. In adopting the 'Kinks' as their
name at that time, they were participating in a time-honoured pop ritual—fame through outrage."[24] Manager Robert
Wace related his side of the story: "I had a friend ... He thought the group was rather fun. If my memory is correct, he
came up with the name just as an idea, as a good way of getting publicity ... When we went to [the band members] with
the name, they were ... absolutely horrified. They said, 'We're not going to be called kinky!' "[24] Ray Davies' account
conflicts with Wace's—he recalled that the name was coined by Larry Page, and referenced their "kinky" fashion sense.
Davies quoted him as saying, "The way you look, and the clothes you wear, you ought to be called the Kinks."[24] "I've
never really liked the name", Ray stated.[24]
"You Really Got Me" and American touring ban (1964–1965)

The band's first single was a cover of the Little Richard song "Long Tall Sally". Bobby Graham, a friend of the band,[25]
was recruited to play drums on the recording. He would continue to occasionally substitute for Avory in the studio and
play on several of the Kinks' early singles, including the early hits "You Really Got Me", "All Day and All of the Night"
and "Tired of Waiting for You".[26] "Long Tall Sally" was released in February 1964, but despite the publicity efforts of
the band's managers, the single was almost completely ignored. When their second single, "You Still Want Me", failed
to chart,[27] Pye Records threatened to annul the group's contract unless their third single was successful.
"You Really Got Me", a Ray Davies song, influenced by American blues and the Kingsmen's version of "Louie
Louie",[28][29] was recorded on 15 June 1964 at Pye studios with a slower and more produced feel than the final
single.[30][31][32] Ray Davies wanted to rerecord the song with a lean, raw sound, but Pye refused to fund another
session; Davies took an adamant stand, so the producer, Shel Talmy, broke the stalemate by underwriting the session
himself.[33] The band used an independent studio, IBC, and went in on 15 July, getting it done in two takes.[30] The
single was released on August 1964, and, supported by a performance on the television show Ready Steady Go! and
extensive pirate radio coverage, it entered the UK charts on 15 August, reaching number one on 19 September.[34][35]
Hastily imported by the American label Reprise Records, it also made the Top 10 in the United States.[4] The loud,
distorted guitar riff and solo on "You Really Got Me" was played by Dave Davies and achieved by a slice Dave Davies
made in the speaker cone of his Elpico amplifier (referred to by the band as the "little green amp")— helped with the
song's signature, gritty guitar sound.[36] "You Really Got Me" has been described as "a blueprint song in the hard rock
and heavy metal arsenal",[36] and as an influence on the approach of some American garage rock bands.[37] After its
release, the group recorded most of the tracks for their debut LP, simply titled Kinks. Consisting largely of covers and
revamped traditional songs, it was released on 2 October 1964, reaching number four on the UK chart.[38] The group's
fourth single, "All Day and All of the Night", another Ray Davies hard rock tune, was released three weeks later,
reaching number two in the United Kingdom, and number seven in the United States.[4][36][39] The next singles, "Set
Me Free" and "Tired of Waiting for You", were also commercially successful, the latter topping the UK singles
chart.[7][39]
The group opened 1965 with their first tour of Australia and New Zealand,
with Manfred Mann and the Honeycombs.[40] An intensive performing
schedule saw them headline other package tours throughout the year with
acts such as the Yardbirds and Mickey Finn.[41] Tensions began to emerge
within the band, expressed in incidents such as the on-stage fight between
Avory and Dave Davies at The Capitol Theatre, Cardiff, Wales, on 19
May.[41][42] After finishing the first song, "You Really Got Me", Davies
insulted Avory and kicked over his drum set.[41][42] Avory responded by
hitting Davies with his hi-hat stand, rendering him unconscious, before
fleeing from the scene, fearing that he had killed his bandmate. Davies was
taken to Cardiff Royal Infirmary, where he received 16 stitches to his
Publicity photo taken during a
head.[41][42] To placate the police, Avory later claimed that it was part of a
Swedish tour in 1965
new act in which the band members would hurl their instruments at each
other.[41][42]
Following a mid-year tour of the United States, the American Federation of Musicians refused permits for the group to
appear in concerts there for the next four years, effectively cutting off the Kinks from the main market for rock music
at the height of the British Invasion.[1][43] Although neither the Kinks nor the union gave a specific reason for the ban,
at the time it was widely attributed to their rowdy on-stage behaviour.[43] It has been reported that an incident when
the band were taping Dick Clark's TV show Where The Action Is in 1965 led to the ban. Ray Davies recalls in his
autobiography, "Some guy who said he worked for the TV company walked up and accused us of being late. Then he
started making anti-British comments. Things like "Just because the Beatles did it, every mop-topped, spotty-faced
limey juvenile thinks he can come over here and make a career for himself." following which a punch was thrown and
the AFM banned them.[44]
A stopover in Bombay, India, during the band's Australian and Asian tour had led Davies to write the song "See My
Friends", released as a single in July 1965.[45] This was an early example of crossover music, and one of the first pop
songs of the period to display the direct influence of traditional music from the Indian Subcontinent.[45] Davies had
written "See My Friends" with a raga feel after hearing the early morning chants of local fishermen.[46] Music historian
Jonathan Bellman argues that the song was "extremely influential" on Davies' musical peers: "And while much has
been made of the Beatles' 'Norwegian Wood' because it was the first pop record to use a sitar, it was recorded well after
the Kinks' clearly Indian 'See My Friends' was released."[45] Pete Townshend of the Who was particularly affected by
the song: " 'See My Friends' was the next time I pricked up my ears and thought, 'God, he's done it again. He's invented
something new.' It was a European sound rather than an Eastern sound but with a strong, legitimate Eastern influence
which had its roots in European folk music."[47] In a widely quoted[45][47][48] statement by Barry Fantoni, 1960s
celebrity and friend of the Kinks, the Beatles and the Who, he recalled that it was also an influence on The Beatles: "I
remember it vividly and still think it's a remarkable pop song. I was with the Beatles the evening that they actually sat
around listening to it on a gramophone, saying 'You know this guitar thing sounds like a sitar. We must get one of
those.' "[47] The song's radical departure from popular music conventions proved unpopular with the band's American
following—it hit number 11 in the UK, but stalled at number 111 in the US.[49]
Recording began promptly on the group's next project, Kinda Kinks,

starting the day after their return from the Asian tour. The LP—10 of "There were only a few bands that had
this sorta really rough-sounding, what
whose 12 songs were originals—was completed and released within we used to call 'R&B' style in the
two weeks.[51][52][53] According to Ray Davies, the band was not Sixties. There were the Yardbirds, there
completely satisfied with the final cuts,[52][53] but pressure from the was us, there was the Pretty Things, as
well."[50]
record company meant that no time was available to correct flaws in
the mix. Davies later expressed his dissatisfaction with the —Dave Davies, interview with the Austin
production, saying, "A bit more care should have been taken with it. I Chronicle
think [producer] Shel Talmy went too far in trying to keep in the
rough edges. Some of the double tracking on that is appalling. It had
better songs on it than the first album, but it wasn't executed in the right way. It was just far too rushed."[53]
Critical success (1965–1972)

A significant stylistic shift in the Kinks' music became evident in late 1965, with the appearance of singles like "A Well
Respected Man" and "Dedicated Follower of Fashion", as well as the band's third album, The Kink Kontroversy,[2] on
which session musician Nicky Hopkins made his first appearance with the group on keyboards.[54] These recordings
exemplified the development of Davies' songwriting style, from hard-driving rock numbers toward songs rich in social
commentary, observation and idiosyncratic character study, all with a uniquely English flavour.[2][5]
The satirical single "Sunny Afternoon" was the biggest UK hit of summer 1966, topping the charts and displacing the
Beatles' "Paperback Writer".[55] Before the release of The Kink Kontroversy, Ray Davies suffered a nervous and
physical breakdown, caused by the pressures of touring, writing and ongoing legal squabbles.[56] During his months of
recuperation, he wrote several new songs and pondered the band's direction.[56] Quaife was involved in an automobile
accident,[56] and after his recovery decided to step back from the band for much of 1966. Bassist John Dalton filled in
until Quaife returned to the group at the end of the year.[1]
"Sunny Afternoon" was a dry run for the band's next album Face to Face, which displayed Davies' growing ability to
craft gentle yet cutting narrative songs about everyday life and people.[1] Hopkins returned for the sessions to play
various keyboard instruments, including piano and harpsichord. He played on the band's next two studio albums as
well, and was involved on a number of their live BBC recordings before joining the Jeff Beck Group in 1968.[56] Face to
Face was released in October 1966 in the UK, where it was well received and peaked at number eight. It was released
in the US in December and was tipped as a potential "chart winner" by Billboard magazine.[57] Despite this, it
managed only a meagre chart peak of 135—a sign of the band's flagging popularity in the American market.[58]
The Kinks' next single was a social commentary piece entitled "Dead End Street". It was released in November 1966[57]
and became another UK Top 10 hit,[59] although it reached only number 73 in the United States.[4] Melody Maker
reviewer Bob Dawbarn praised Ray Davies' ability to create a song with "some fabulous lyrics and a marvellous
melody ... combined with a great production",[60] and music scholar Johnny Rogan described it as "a kitchen sink
drama without the drama—a static vision of working class stoicism".[59] One of the group's first promotional music
videos was produced for the song. It was filmed on Little Green Street, a small 18th-century lane in north London,
located off Highgate Road in Kentish Town.[61]
The Kinks' next single, "Waterloo Sunset", was released in May 1967. The lyrics describe two lovers passing over a
bridge, with a melancholic observer reflecting on the couple, the Thames and Waterloo station.[64][65] The song was
rumoured to have been inspired by the romance between two British celebrities of the time, actors Terence Stamp and
Julie Christie.[66][67][68] Ray Davies denied this in his autobiography, and claimed in a 2008 interview, "It was a
fantasy about my sister going off with her boyfriend to a new world and they were going to emigrate and go to another
country."[65][69] Despite its complex arrangement, the sessions for "Waterloo Sunset" lasted a mere ten hours;[62]
Dave Davies later commented on the recording: "We spent a lot of time trying to get a different guitar sound, to get a
more unique feel for the record. In the end we used a tape-delay echo, but it sounded new because nobody had done it
since the 1950s. I remember Steve Marriott of the Small Faces came up and asked me how we'd got that sound. We
were almost trendy for a while."[63] The single was one of the Kinks' biggest UK successes (hitting number two on
Melody Maker's chart),[66] and went on to become one of their most popular and best-known songs. Pop music
journalist Robert Christgau called it "the most beautiful song in the English language",[70] and AllMusic senior editor
Stephen Thomas Erlewine cited it as "possibly the most beautiful song of the rock and roll era".[71]
The songs on the 1967 album, Something Else By The Kinks, developed the
musical progressions of Face to Face, adding English music hall influences
to the band's sound.[73] Dave Davies scored a major UK chart success with
the album's "Death of a Clown". While it was co-written by Ray Davies and
recorded by the Kinks, it was also released as a Dave Davies solo
single.[4][73] Overall, however, the album's commercial performance was
disappointing, prompting the Kinks to rush out a new single, "Autumn
Almanac", in early October. Backed with "Mister Pleasant", the single
became another Top 5 success for the group. Andy Miller points out that,
Ray Davies plays a Fender
acoustic, Dave Davies a prototype despite its success, the single marks a turning point in the band's career—it
Gibson Flying V, on the Dutch TV would be their last entry into the UK Top Ten for three years: "In
programme Fenklup on 29 April retrospect, 'Autumn Almanac' marked the first hint of trouble for the
1967.[72] Kinks. This glorious single, one of the greatest achievements of British 60s
pop, was widely criticised at the time for being too similar to previous
Davies efforts."[74] Nick Jones of Melody Maker asked, "Is it time that Ray
stopped writing about grey suburbanites going about their fairly unemotional daily business? ... Ray works to a
formula, not a feeling, and it's becoming rather boring."[74] Disc jockey Mike Ahern called the song "a load of old
rubbish".[74] Dave's second solo single, "Susannah's Still Alive", was released in the UK on 24 November. It sold a
modest 59,000 copies, but failed to reach the Top 10. Miller states that "by the end of the year, the Kinks were rapidly
sliding out of fashion".[75]
Beginning early in 1968, the group largely retired from touring,

instead focusing on work in the studio. As the band was not available "Everyone was panicking because
'Wonderboy' wasn't sounding like a hit
to promote their material, subsequent releases met with little record. Among the management and
success.[77] The Kinks' next single, "Wonderboy", released in the the agent, Danny Detesh, there was
spring of 1968, stalled at number 36 and became the band's first definitely a sense that the band
wouldn't go on for much longer ...
single not to make the UK Top Twenty since their early covers.[78] In
Danny came backstage when the record
the face of the band's declining popularity, Davies continued to flopped and said, 'Well, you've had a
pursue his personal song-writing style while rebelling against the good run. You've enjoyed it.' As if it was
heavy demands placed on him to keep producing commercial hits,
all over for us."[76]
and the group continued to devote time to the studio, centering on a —Ray Davies, on the decline of the band's
slowly developing project of Ray's called Village Green.[1] In an 1960s incarnation, "Wonderboy", and
attempt to revive the group's commercial standing, the Kinks' cabaret touring
management booked them on a month-long package tour for April,
drawing the group away from the studio. The venues were largely
cabarets and clubs; headlining was Peter Frampton's group The Herd. "In general, the teenyboppers were not there to
see the boring old Kinks, who occasionally had to endure chants of 'We Want The Herd!' during their brief
appearances",[79] commented Andy Miller. The tour proved taxing and stressful—Pete Quaife recalled, "It was a chore,
very dull, boring and straightforward ... We only did twenty minutes, but it used to drive me absolutely frantic,
standing on stage and playing three notes over and over again."[79] At the end of June, the Kinks released the single
"Days", which provided a minor, but only momentary, comeback for the group. "I remember playing it when I was at
Fortis Green the first time I had a tape of it", Ray said. "I played it to Brian, who used to be our roadie, and his wife
and two daughters. They were crying at the end of it. Really wonderful—like going to Waterloo and seeing the
sunset. ... It's like saying goodbye to somebody, then afterwards feeling the fear that you actually are alone."[76] "Days"
reached number 12 in the United Kingdom and was a Top 20 hit in several other countries, but it did not chart in the
United States.[80]
Village Green eventually morphed into their next album, The Kinks Are the Village Green Preservation Society,
released in late 1968 in the UK. A collection of thematic vignettes of English town and hamlet life, it was assembled
from songs written and recorded over the previous two years.[81] It was greeted with almost unanimously positive
reviews from both UK and US rock critics, yet failed to sell strongly.[82] One factor in the album's initial commercial
failure was the lack of a popular single.[83] It did not include the moderately successful "Days"; "Starstruck" was
released in North America and continental Europe, but was unsuccessful.[84][85] Though a commercial
disappointment, Village Green (the project's original name was adopted as shorthand for the long album title) was
embraced by the new underground rock press when it came out in January 1969 in the United States, where the Kinks
began to acquire a reputation as a cult band.[86] In The Village Voice, a newly hired Robert Christgau called it "the best
album of the year so far".[86] The underground Boston paper Fusion published a review stating, "the Kinks continue,
despite the odds, the bad press and their demonstrated lot, to come across. ... Their persistence is dignified, their
virtues are stoic. The Kinks are forever, only for now in modern dress."[86] The record did not escape criticism,
however. In the student paper California Tech, one writer commented that it was "schmaltz rock ... without
imagination, poorly arranged and a poor copy of The Beatles".[86] Although it sold only an estimated 100,000 copies
worldwide on its initial release, it has since become the Kinks' best-selling original record.[82] The album remains
popular; in 2004, it was re-released in a 3-CD "Deluxe" edition and one of its tracks, "Picture Book", was featured in a
popular Hewlett-Packard television commercial, helping to boost the album's popularity considerably.[87]
In early 1969, Quaife told the band he was leaving.[88] The other members
did not take his statement seriously, until an article appeared in New
Musical Express on 4 April featuring Quaife's new band, Maple Oak, which
he had formed without telling the rest of the Kinks.[88][89][90] Ray Davies
pleaded with him to return for the sessions for their upcoming album, but
Quaife refused.[91] Davies immediately called up John Dalton, who had
filled in for Quaife in the past, as a replacement. Dalton remained with the
group until 1977, when the album Sleepwalker was released.[91]
Ray Davies travelled to Los Angeles in April 1969 to help negotiate an end
to the American Federation of Musicians' ban on the group, opening up an With the newly hired John Dalton in
opportunity for them to return to touring in the US.[92] The group's 1969. From left: Dave Davies, Ray
management quickly made plans for a North American tour, to help restore Davies, Dalton, Mick Avory
their standing in the US pop music scene.[93] Before their return to the US,
the Kinks recorded another album, Arthur (Or the Decline and Fall of the
British Empire).[94] As with the previous two albums, Arthur was grounded in characteristically English lyrical and
musical hooks.[94] A modest commercial success, it was well received by American music critics.[4][94] Conceived as
the score for a proposed but unrealised television drama, much of the album revolved around themes from the Davies
brothers' childhood; their sister Rosie, who had migrated to Australia in the early 1960s with her husband, Arthur
Anning, the album's namesake; and life growing up during the Second World War.[94][95] The Kinks embarked on
their tour of the US in October 1969.[93] The tour was generally unsuccessful, as the group struggled to find
cooperative promoters and interested audiences; many of the scheduled concert dates were cancelled. The band did,
however, manage to play a few major venues such as the Fillmore East and Whisky a Go Go.[96]
The band added keyboardist John Gosling to their line-up in early 1970;[98] before this Nicky Hopkins, along with
Ray, had done most of the session work on keyboards. In May 1970 Gosling debuted with the Kinks on "Lola", an
account of a confused romantic encounter with a transvestite, that became both a UK and a US Top 10 hit, helping
return the Kinks to the public eye.[98][99] The lyrics originally contained the word "Coca-Cola", and as a result the BBC
refused to broadcast the song, considering it to be in violation of their policy against product placement.[98] Part of the
song was hastily rerecorded by Ray Davies, with the offending line changed to the generic "cherry cola", although in
concert the Kinks still used "Coca-Cola".[98] Recordings of both versions of "Lola" exist. The accompanying album Lola
Versus Powerman and the Moneygoround, Part One was released in November 1970. It was a critical and commercial
success, charting in the Top 40 in the US, making it their most successful album since the mid-1960s.[100][101] After
the success of "Lola", the band went on to release Percy in 1971, a soundtrack album to a film of the same name about
a penis transplant.[102] The album, which consisted largely of instrumentals, did not receive positive reviews.[102] The
band's US label, Reprise, declined to release it in the US, precipitating a major dispute that contributed to the band's
departure from the label.[102] Directly after the release of the album, the band's contracts with Pye and Reprise
expired.[1][102]
Before the end of 1971, the Kinks signed a five-album deal with RCA
Records and received a million-dollar advance, which helped fund the
construction of their own recording studio, Konk.[1][103] Their debut for
RCA, Muswell Hillbillies, was replete with the influence of music hall and
traditional American musical styles, including country and bluegrass. It is
often hailed as their last great record, though it was not as successful as its
predecessors.[103] It was named after Muswell Hill, where the Davies
The Kinks, c. 1971. From left: John brothers were brought up, and contained songs focusing on working-class
Gosling, Dave Davies, Mick Avory,
life and, again, the Davies' childhood.[103] Muswell Hillbillies, despite
John Dalton, Ray Davies (the band's
line-up 1970–1976, 1978) positive reviews and high expectations, peaked at number 48 on the
Record World chart and number 100 on the Billboard chart.[4][103] It was
followed in 1972 by a double album, Everybody's in Show-Biz, which
consisted of both studio tracks and live numbers recorded during a two-night stand at Carnegie Hall.[104] The record
featured the ballad "Celluloid Heroes" and the Caribbean-themed "Supersonic Rocket Ship", their last UK Top 20 hit
for more than a decade.[104] "Celluloid Heroes" is a bittersweet rumination on dead and fading Hollywood stars
(Mickey Rooney was still alive), in which the narrator declares that he wishes his life were like a movie "because
celluloid heroes never feel any pain ... and celluloid heroes never really die."[104][105] The album was moderately
successful in the United States, peaking at number 47 in Record World and number 70 in Billboard.[4][104] It marks
the transition between the band's early 1970s rock material and the theatrical incarnation in which they immersed
themselves for the next four years.[104]
Theatrical incarnation (1973–1976)

In 1973, Ray Davies dived headlong into the theatrical style, beginning with the rock opera Preservation, a sprawling
chronicle of social revolution, and a more ambitious outgrowth of the earlier Village Green Preservation Society
ethos.[106][107] In conjunction with the Preservation project, the Kinks' line-up was expanded to include a horn section
and female backup singers, essentially reconfiguring the group as a theatrical troupe.[1][106]
Ray Davies' marital problems during this period began to affect the band adversely,[107] particularly after his wife,
Rasa, took their children and left him in June 1973.[108] Davies became depressed; during a July gig at White City
Stadium he told the audience he was "fucking sick of the whole thing", and was retiring.[109][110][110][111] He
subsequently collapsed after a drug overdose and was taken to hospital.[109][112] With Ray Davies in a seemingly
critical condition, plans were discussed for Dave to continue as frontman in a worst-case scenario.[113] Ray recovered
from his illness as well as his depression, but throughout the remainder of the Kinks' theatrical incarnation the band's
output remained uneven, and their already fading popularity declined even
more.[112] John Dalton later commented that when Davies "decided to work
again ... I don't think he was totally better, and he's been a different person ever
since."[113]
Preservation Act 1 (1973) and Preservation Act 2 (1974) received generally poor
reviews.[106][114][115] The story on the albums involved an anti-hero called Mr Flash,
and his rival and enemy Mr Black (played by Dave Davies during live shows), an
ultra-purist and corporatist.[116] Preservation Act 2 was the first album recorded at
Konk Studio; from this point forward, virtually every Kinks studio recording was
produced by Ray Davies at Konk.[107][117] The band embarked on an ambitious US
tour throughout late 1974, adapting the Preservation story for stage. Musicologist
Ray Davies in character as
Eric Weisbard: "[Ray] Davies expanded the Kinks into a road troupe of perhaps a Mr Flash, the anti-hero of
dozen costumed actors, singers and horn players. ... Smoother and tighter than on the Preservation series
record, Preservation live proved funnier as well."[118]
Davies began another project for Granada Television, a musical called Starmaker.[120] After a broadcast with Ray
Davies in the starring role and the Kinks as both back-up band and ancillary characters, the project eventually
morphed into the concept album The Kinks Present a Soap Opera, released in May 1975, in which Ray Davies
fantasised about what would happen if a rock star traded places with a "normal Norman" and took a 9–5 job.[120][121]
In August 1975, the Kinks recorded their final theatrical work, Schoolboys in Disgrace, a backstory biography of
Preservation's Mr Flash.[122] The record was a modest success, peaking at number 45 on the Billboard charts.[4][122]
Return to commercial success (1976–1986)

Following the termination of their contract with RCA, the Kinks signed
with Arista Records in 1976. With the encouragement of Arista's
management they stripped back down to a five-man core group and were
reborn as an arena rock band.[1] John Dalton left the band before finishing
the sessions for the debut Arista album. Andy Pyle was brought in to
complete the sessions and to play on the subsequent tour.[1] Sleepwalker,
released in 1977, marked a return to success for the group as it peaked at
number 21 on the Billboard chart.[4][123] After its release and the recording
Ray Davies and backup singers, at
of the follow-up, Misfits, Andy Pyle and keyboardist John Gosling left the
Maple Leaf Gardens, Toronto, 29
April 1977 group to work together on a separate project.[124] Dalton returned to
complete the tour and ex–Pretty Things keyboardist Gordon John Edwards
joined the band.[125] In May 1978, Misfits, the Kinks' second Arista album,
was released. It included the US Top 40 hit "A Rock 'n' Roll Fantasy",[125] which helped make the record another
success for the band. The non-album single "Father Christmas" has remained a popular track. Driven by session
drummer Henry Spinetti's drumming and Dave Davies' heavy guitar the song "Father Christmas" has become a classic
seasonal favorite on mainstream radio.[126] Dalton left the band permanently at the end of their UK tour, and Gordon
John Edwards followed. Ex-Argent bassist Jim Rodford joined the band before the recording of Low Budget, on which
Ray Davies played the keyboard sections. Keyboardist Ian Gibbons was recruited for the subsequent tour, and became
a permanent member of the group. Despite the personnel changes, the popularity of the band's records and live shows
continued to grow.
Beginning in the late 1970s, bands such as the Jam ("David Watts"), the Pretenders ("Stop Your Sobbing", "I Go to
Sleep") and the Knack ("The Hard Way") recorded covers of Kinks songs, which helped bring attention to the group's
new releases.[1][2] In 1978, Van Halen covered "You Really Got Me" for their debut single, a Top 40 US hit, helping
boost the band's commercial resurgence (Van Halen later covered "Where Have All the Good Times Gone", another
early Kinks song which had been covered by David Bowie on his 1973 album Pin Ups). The hard rock sound of Low
Budget, released in 1979, helped make it the Kinks' second gold album and highest charting original album in the US,
where it peaked at number 11.[1][2][4] In 1980, the group's third live album, One for the Road, was produced, along
with a video of the same title, bringing the group's concert-drawing power to a peak that would last into 1983.[1][2]
Dave Davies also took advantage of the group's improved commercial standing to fulfill his decade-long ambitions to
release albums of his solo work. The first was the eponymous Dave Davies in 1980. It was also known by its catalogue
number "AFL1-3603" because of its cover art, which depicted Dave Davies as a leather-jacketed piece of price-
scanning barcode. He produced another, less successful, solo album in 1981, Glamour.[127][128]
The next Kinks album, Give the People What They Want, was released in late 1981 and reached number 15 in the
US.[129] The record attained gold status and featured the UK hit single "Better Things" as well as "Destroyer", a major
Mainstream Rock hit for the group.[4][129] To promote the album, the Kinks spent the end of 1981 and most of 1982
touring relentlessly,[2] and played multiple sell-out concerts throughout Australia, Japan, England and the US.[130]
The tour culminated with a performance at the US Festival in San Bernardino, California, for a crowd of 205,000.[131]
In spring 1983, the song "Come Dancing" became their biggest American hit since "Tired of Waiting for You", peaking
at number six.[4] It also became the group's first Top 20 hit in the UK since 1972, peaking at number 12 in the
charts.[132] The accompanying album, State of Confusion, was another commercial success, reaching number 12 in the
US, but, like all the group's albums since 1967, it failed to chart in the UK.[133] Another single released from the record,
"Don't Forget to Dance", became a US top 30 hit and minor UK chart entry.[4]
The Kinks' second wave of popularity remained at a peak with State of Confusion,
but that success began to fade, a trend that also affected their British rock
contemporaries the Rolling Stones and the Who.[132][134][135] During the second
half of 1983, Ray Davies started work on an ambitious solo film project, Return to
Waterloo, about a London commuter who daydreams that he is a serial
murderer.[136][137] The film gave actor Tim Roth a significant early role.[137] Davies'
commitment to writing, directing and scoring the new work caused tension in his
relationship with his brother.[138] Another problem was the stormy end of the
relationship between Ray Davies and Chrissie Hynde.[139] The old feud between
Dave Davies and drummer Mick Avory also re-ignited. Davies eventually refused to
work with Avory,[139] and called for him to be replaced by Bob Henrit, former
drummer of Argent (of which Jim Rodford had also been a member).[139] Avory left
the band, and Henrit was brought in to take his place. Ray Davies, who was still on Ray Davies in Brussels,
amiable terms with Avory, invited him to manage Konk Studios. Avory accepted, 1985, as the group's
and continued to serve as a producer and occasional contributor on later Kinks popularity began to dwindle
albums.[139]
Between the completion of Return to Waterloo and Avory's departure, the band had begun work on Word of Mouth,
their final Arista album, released in November 1984. As a result it includes Avory on three tracks,[139] with Henrit and
a drum machine on the rest.[140] Many of the songs also appeared as solo recordings on Ray Davies' Return to
Waterloo soundtrack album.[136] Word of Mouth's lead track, "Do It Again", was released as a single in April 1985. It
reached number 41 in the US, the band's last entry into the Billboard Hot 100.[140] Coinciding with the album's
release, the first three books on the Kinks were published: The Kinks: The Official Biography, by Jon Savage;[141] The
Kinks Kronikles, by rock critic John Mendelsohn, who had overseen the 1972 The Kink Kronikles compilation album;
and The Kinks—The Sound And The Fury (The Kinks—A Mental Institution in the US), by Johnny Rogan.[142]
Decline in popularity and split (1986–1996)

In early 1986, the group signed with MCA Records in the United States and London Records in the UK.[7][140] Their
first album for the new labels, Think Visual, released later that year, was a moderate success, peaking at number 81 on
the Billboard albums chart.[4][7][145] Songs like the ballad "Lost and Found" and "Working at the Factory" concerned
blue-collar life on an assembly line, while the title track was an attack on the very MTV video culture from which the
band had profited earlier in the decade.[146] The Kinks followed Think
Visual in 1987 with another live album, The Road, which was a mediocre
commercial and critical performer.[4] In 1989, the Kinks released UK Jive,
a commercial failure, making only a momentary entry into the album
charts at number 122.[4] MCA Records ultimately dropped them, leaving
the Kinks without a label deal for the first time in over a quarter of a
century. Longtime keyboardist Ian Gibbons left the group and was replaced
by Mark Haley.[147]
The Kinks farewell party was at the
Clissold Arms, where they had first In 1990, their first year of eligibility, the Kinks were inducted into the Rock
performed in 1960.[143][144] and Roll Hall of Fame.[2] Mick Avory and Pete Quaife were present for the
award.[2][147] The induction, however, did not revive the Kinks' stalled
career. A compilation from the MCA Records period, Lost & Found (1986-
1989), was released in 1991 to fulfil contractual obligations, and marked the official end of the group's relationship
with MCA.[7] The band then signed with Columbia Records and released the five-song EP Did Ya in 1991 which,
despite being coupled with a new studio re-recording of the band's 1968 British hit "Days", failed to chart.[4][7]
The Kinks reverted to a four-piece band for the recording of their first Columbia album, Phobia, in 1993.[147][148]
Following Mark Haley's departure after the band's sellout performance at the Royal Albert Hall, London, Gibbons
rejoined the Kinks for a US tour.[147] Phobia managed only one week in the US Billboard chart at number 166;[4][147]
as had by then become usual for the band, it made no impression in the UK.[148] One single, "Only a Dream", narrowly
failed to reach the British chart. "Scattered", the album's final candidate for release as a single, was announced,
followed by TV and radio promotion, but the record was unavailable in stores—several months later a small number
appeared on the collector market.[148] The group was dropped by Columbia in 1994.[148] In the same year, the band
released the first version of the album To the Bone on their own Konk label in the UK. This live acoustic album was
partly recorded on the highly successful UK tours of 1993 and 1994 and partly in the Konk studio, before a small,
invited audience.[149] Two years later the band released a new, improved, live double CD set in the USA, which
retained the same name and contained two new studio tracks, "Animal" and "To The Bone". The CD set also featured
new treatments of many old Kinks hits.[149] The record drew respectable press but failed to chart in either the US or
the UK.[4][149]
The band's profile rose considerably in the mid-1990s, primarily as a result of the "Britpop" boom.[1][149] Several of the
most prominent bands of the decade cited the Kinks as a major influence. Despite such accolades, the group's
commercial viability continued to decline.[1] They gradually became less active, leading Ray and Dave Davies to pursue
their own interests. Each released an autobiography; Ray's X-Ray was published in early 1995, and Dave responded
with his memoir Kink, published a year later.[150] The Kinks gave their last public performance in mid-1996,[151] and
the group assembled for what would turn out to be their last time together at a party for Dave's 50th birthday. Kinks
chronicler and historian Doug Hinman stated, "The symbolism of the event was impossible to overlook. The party was
held at the site of the brothers' very first musical endeavour, the Clissold Arms pub, across the street from their
childhood home on Fortis Green in North London."[152]
Solo work (1996–2018)

The band members subsequently focused on solo projects, and both Davies brothers released their own studio
albums.[150] Talk of a Kinks reunion circulated (including an aborted studio reunion of the original band members in
1999), but neither Ray nor Dave Davies showed much interest in playing together again.[148] Meanwhile, former
members John Gosling, John Dalton and Mick Avory had regrouped in 1994 and started performing on the oldies
circuit along with guitar-player/singer Dave Clarke as the Kast Off Kinks.[153]
Ray Davies released the solo album Storyteller, a companion piece to X-

Ray, in 1998. Originally written two years earlier as a cabaret-style show, it
celebrated his old band and his estranged brother.[154] Seeing the
programming possibilities in his music/dialogue/reminiscence format, the
American music television network VH1 launched a series of similar
projects featuring established rock artists titled VH1 Storytellers.[154] Dave
Davies spoke favourably of a Kinks reunion in early 2003, and as the 40th
anniversary of the group's breakthrough neared, both the Davies brothers
expressed interest in working together again.[155] However, hopes for a
Dave Davies at the Dakota Creek
reunion were dashed in June 2004 when Dave suffered a stroke while
Roadhouse, 2002
exiting an elevator, temporarily impairing his ability to speak and play
guitar.[69] Following Dave's recovery, the Kinks were inducted into the UK
Music Hall of Fame in November 2005, with all four of the original band members in attendance. The award was
presented by The Who's guitarist and songwriter Pete Townshend, a longtime Kinks fan and friend of Ray Davies.[156]
The induction helped fuel sales for the group; in August 2007, a re-entry of The Ultimate Collection, a compilation of
material spanning the band's career, reached number 32 on the UK Top 100 album chart and number one on the UK
Indie album chart.[157]
In December 2007, Record Collector published an interview with Ray Davies in which he said, "I spoke to Quaife
about a month ago and he dearly wants to make another record with me. I think Dave's getting better and Mick's still
playing. It would be great to get back together just to see what musical ideas we had, and what would happen."[158]
The Daily Mail subsequently interpreted his comments as a declaration that a reunion of the band's original line-up
was imminent.[159] Dave Davies swiftly rejected the idea of a reunion. He told a reporter that "it would be like a bad
remake of Night of the Living Dead" and added, "Ray has been doing Karaoke Kinks shows since 1996."[160]
In June 2009, Ray Davies told The Independent that while a full-fledged
reunion was unlikely, "I will continue to play with ex-band members like
Mick Avory from time to time. With Dave, a lot of it is psychological. I'll
guide him in, and coerce and nurture him, and when the time is right I
suppose I'll even shout at him again."[69] When asked about a possible
reunion in an interview that year, Avory stated, "A reunion would not be
possible with the originals, for a start due to ill health. But it would be
possible with the Kast Off Kinks plus Ray. In any event Ray would record
Ray Davies performing in Ottawa,
new material. We have some old tracks from the 80s as well."[161] In March
2008
2010, Avory reported that the band were planning on releasing an album of
unreleased and new material. He stated that they had "eight tracks" ready
for the album, but that the Davies brothers had to settle their differences before the project could progress.[162]
Quaife, who had been receiving kidney dialysis for more than ten years, died on 23 June 2010, at the age of 66.[163]
Two days after the bassist's death, Dave Davies posted a statement on his message board expressing deep sorrow over
the passing of his former band mate and stating that Quaife "was never really given the credit he deserved for his
contribution and involvement [sic] [with The Kinks]".[164] Ray Davies dedicated his performance of 27 June at the
Glastonbury Festival to Quaife and performed several Quaife-era Kinks songs in tribute to him. Davies told the crowd,
"I wouldn't be here today if it wasn't for him."[165]
In separate interviews early in 2011, both Davies brothers spoke positively about a potential reunion. Dave Davies
explained, "There's nothing in the pipeline yet, but ... we'll see. It's possible." Each has said that any reunion would be
dependent on the other. According to Ray Davies, the brothers were to meet in April to discuss future plans.[166][167]
In October that year, Dave Davies quashed rumours of a reunion, stating in an interview that although he loves his
brother, "I just can't stand to be with him. About an hour with Ray's my limit, so it would be a very short reunion."[168]
In November of that year Ray Davies reported that he had recently recorded with Avory "just to sort of try to do what
we call demos ... we might do it in fits and starts and bring Dave in at a later date. I'll never say never with my brother,
because he's totally unpredictable."[169] In a 2013 Skype interview Dave Davies expressed interest in doing reunion
shows.[170] On 18 December 2015, Ray Davies joined Dave Davies onstage at the Islington Assembly Hall in London to
perform "You Really Got Me".[171] On 5 November 2016, Dave Davies posted on Twitter: "Me and Ray have not spoken
about Kinks shows at all – although were [sic] trying to work together on other stuff and have worked on music
together".[172] Dave Davies subsequently confirmed that the Davies brothers had recorded 4–5 demos of new songs
together for a potential concept album in 2016, but that they had both gotten too distracted by their respective solo
work to complete the project. In a Rolling Stone interview, Davies stated that, "We came up with a few songs and some
lyrics and had a nice interaction. So he's [Ray] got demos on his computer, and I've got them on mine in a different
form. I hope we'll get together and do something with them, but who knows."[173]
On 20 January 2018, long-time bassist Jim Rodford died at the age of 76.[174]
Reunion (2018–present)
In June 2018, the Davies brothers confirmed that they were working on a new The Kinks' studio album with
Avory.[175] Ray Davies was inspired to reform the band by a recent tour by The Rolling Stones, and had accumulated a
backlog of songs he wanted to record with the band.[176]
In July 2019, keyboardist Ian Gibbons passed away after a battle with cancer.
Live performances
The first live performance of the Ray Davies Quartet, the band that would become the Kinks, was at a dance for their
school, William Grimshaw, in 1962. The band performed under several names between 1962 and 1963—the Pete
Quaife Band, the Bo-Weevils, the Ramrods, and the Ravens—before settling on the Kinks in early 1964.[3][21] Ray has
stated that a performance at Hornsey Town Hall on Valentine's Day 1963 was when the band were truly born.
The Kinks made their first tour of Australia and New Zealand in January 1965 as part of a "package" bill that included
Manfred Mann and the Honeycombs.[40] They performed and toured relentlessly, headlining package tours
throughout 1965 with performers such as the Yardbirds and Mickey Finn.[41] Tensions began to emerge within the
band, expressed in incidents such as the on-stage fight between drummer Mick Avory and Dave Davies at The Capitol
Theatre, Cardiff, Wales on 19 May.[41][42] After finishing the first song, "You Really Got Me", Davies insulted Avory
and kicked over his drum set.[41][42] Avory responded by hitting Davies with his hi-hat stand, rendering him
unconscious, before fleeing from the scene, fearing that he had killed his bandmate. Davies was taken to Cardiff Royal
Infirmary, where he received 16 stitches to his head.[41][42] To placate police, Avory later claimed that it was part of a
new act in which the band members would hurl their instruments at each other.[41][42] Following their summer 1965
American tour, the American Federation of Musicians refused permits for the group to appear in concerts in the
United States for the next four years,[1][177] possibly due to their rowdy on-stage behaviour.[178]
In April 1969 Davies helped negotiate an end to the American Federation of Musician ban on the group,[92] which
allowed plans for a North American tour. However, over the next few years, Davies went into a state of depression, not
helped by his collapsing marriage, culminating in his onstage announcement that he was "sick of it all" at a gig in
White City Stadium in 1973.[108] A review of the concert published in Melody Maker stated: "Davies swore on stage.
He stood at The White City and swore that he was 'F...... [sic] sick of the whole thing' ... He was 'Sick up to here with
it' ... and those that heard shook their heads. Mick just ventured a disbelieving smile, and drummer [sic] on through
'Waterloo Sunset.' "[110] Davies proceeded to try to announce that the Kinks were breaking up as the band were leaving
the stage, but this attempt was foiled by the group's publicity management, who pulled the plug on the microphone
system.[108][110]
Musical style
The Kinks started out playing the then popular R&B and blues styles; then, under the influence of The Kingsmen's
"Louie Louie" recording, developed louder rock and hard rock sounds — due to their pioneering contribution to the
field, they have often been labelled as "the original punks".[179][180] Dave Davies was "really bored with this guitar
sound – or lack of an interesting sound" so he purchased "a little green amplifier ... an Elpico" from a radio spares
shop in Muswell Hill,[181] and "twiddled around with it", including "taking the wires going to the speaker and putting a
jack plug on there and plugging it straight into my AC30" (a larger amplifier), but didn't get the sound he wanted until
he got frustrated and "got a single-sided Gillette razorblade and cut round the cone [from the centre to the edge] ... so
it was all shredded but still on there, still intact. I played and I thought it was amazing."[182] The jagged sound of the
amplifier was replicated in the studio; the Elpico was plugged into the Vox AC30, and the resulting effect became a
mainstay in The Kinks' early recordings—most notably on "You Really Got Me" and "All Day and All of the Night".[1]
From 1966 onwards,[1] The Kinks came to be known for their adherence to traditions of English music and culture,
during a period when many other British bands dismissed their heritage in favour of American blues, R&B and pop
styles.[1] Ray Davies recalled that at a distinct moment in 1965 he decided to break away from the American scene, and
write more introspective and intelligent songs. "I decided I was going to use words more, and say things. I wrote 'Well
Respected Man'. That was the first real word-oriented song I wrote ... [I also] abandoned any attempt to Americanise
my accent."[183] The Kinks' allegiance to English styles was strengthened by the ban placed on them by the American
Federation of Musicians. The ban cut them off from the American record buying public, the world's largest musical
market,[1] forcing them to focus on Britain and mainland Europe. The Kinks expanded on their English sound
throughout the remainder of the 1960s, incorporating elements of music hall, folk, and baroque music through use of
harpsichord, acoustic guitar, mellotron, and horns, in albums such as Face to Face, Something Else, The Kinks Are the
Village Green Preservation Society, and Arthur (Or the Decline and Fall of the British Empire), creating some of the
most influential and important music of the period.[1]
Beginning with Everybody's In Show-biz (1972), Ray Davies began exploring theatrical concepts on the group's
albums; these themes became manifest on the 1973 album Preservation Act 1 and continued through Schoolboys In
Disgrace (1976).[1] The Kinks were less commercially successful with these conceptual works, and were dropped by
RCA which had signed them in 1971. In 1977 they moved to Arista Records, who insisted on a more traditional rock
format. Sleepwalker (1977), which heralded their return to commercial success, featured a mainstream, relatively slick
production style that would become their norm.[123] The band returned to hard rock for Low Budget (1979), and
continued to record within the genre throughout the remainder of their career.[1]
Legacy
The Kinks are regarded as one of the most influential rock acts of the 1960s and early 1970s.[1][2] Stephen Thomas
Erlewine called The Kinks "one of the most influential bands of the British Invasion".[1] They were ranked 65th on
Rolling Stone Magazine's "100 Greatest Artists of All Time" list.[184]
Artists influenced by The Kinks include punk rock groups such as the Ramones,[185] The Clash,[186] and The Jam,[187]
heavy metal acts including Van Halen and Britpop groups such as Oasis, Blur and Pulp.[1] Craig Nicholls, singer and
guitarist of The Vines, described the Kinks as "great songwriters, so underrated".[188] Pete Townshend, guitarist with
the Kinks' contemporaries the Who, credited Ray Davies with inventing "a new kind of poetry and a new kind of
language for pop writing that influenced me from the very, very, very beginning."[189] Jon Savage wrote that The Kinks
were an influence on late 1960s American psychedelic rock groups "like The Doors, Love and Jefferson Airplane".[63]
Music writers and other musicians have acknowledged the influence of the Kinks on the development of hard rock and
heavy metal. Musicologist Joe Harrington stated: "'You Really Got Me', 'All Day and All of the Night' and 'I Need You'
were predecessors of the whole three-chord genre ... [T]he Kinks did a lot to help turn rock 'n' roll (Jerry Lee Lewis)
into rock."[185] Queen guitarist Brian May credited the band with planting "the seed which grew into riff-based
music."[190]
A musical, Sunny Afternoon, based on the early life of Ray Davies and the formation of the Kinks, opened at the
Hampstead Theatre in April 2014.[191][192] The musical's name came from the band's 1966 hit single "Sunny
Afternoon"[193] and features songs from the band's back catalogue.[194]
In 2015, it was reported that Julien Temple would direct a biopic of The Kinks titled You Really Got Me, with singer-
songwriter Johnny Flynn and actor George MacKay cast to play Ray and Dave Davies, respectively.[195]
Members
Current members
Ray Davies – lead and backing vocals, rhythm guitar, keyboards, harmonica (1964–1996, 2018–present)
Dave Davies – lead guitar, backing and lead vocals, occasional keyboards (1964–1996, 2018–present)
Mick Avory – drums, percussion (1964–1984, 2018–present)
Former members
Pete Quaife – bass, backing vocals (1964-1966, 1966-1969; died 2010)

John "Nobby" Dalton – bass, backing vocals (1966, 1969–1976, 1978 as session member)
John "The Baptist" Gosling – keyboards, piano, backing vocals (1970–1978)
Andy Pyle – bass, backing vocals (1976–1978)
Jim Rodford – bass, backing vocals (1978–1996; died 2018)
Gordon John Edwards – keyboards, piano, backing vocals (1978–1979; died 2003)
Ian Gibbons – keyboards, piano, backing vocals (1979–1989, 1993–1996; died 2019)
Bob Henrit – drums, percussion (1984–1996)
Mark Haley – keyboards, piano, backing vocals (1989–1993; touring only)
Discography
The Kinks were active for 32 years from 1964 to 1996, releasing 28 regular albums in the UK (24 studio, four live),[196]
and 30 in the USA (24 studio, four live, two compilation). The early 1960s US albums were slightly different from the
British albums partly due to the method that publishing royalties were calculated in the two countries,[197] partly due
to difference in popularity of the extended play format (popular in the UK but not in the US, so US albums had the EP
releases bundled onto them), and partly due to the US albums including the hit singles, and the UK albums not; after
The Kink Kontroversy in 1965 the albums were the same.[198] There have been somewhere between 100 and 200
compilation albums released worldwide.[199][200] Their hit singles include three UK number-one singles, starting in
1964 with "You Really Got Me"; plus 18 Top 40 singles in the 1960s alone and further Top 40 hits in the 1970s and
1980s.
Studio albums
Kinks (1964)
Kinda Kinks (1965)
The Kink Kontroversy (1965)
Face to Face (1966)
Something Else by The Kinks (1967)
The Kinks Are the Village Green Preservation Society (1968)
Arthur (Or the Decline and Fall of the British Empire) (1969)
Lola Versus Powerman and the Moneygoround, Part One (1970)
Percy (soundtrack) (1971)
Muswell Hillbillies (1971)
Everybody's in Show-Biz (studio & live) (1972)
Preservation Act 1 (1973)
Preservation Act 2 (1974)
Soap Opera (1975)
Schoolboys in Disgrace (1975)

Sleepwalker (1977)
Misfits (1978)
Low Budget (1979)
Give the People What They Want (1981)
State of Confusion (1983)
Word of Mouth (1984)
Think Visual (1986)
UK Jive (1989)
Phobia (1993)
Live albums
Live at Kelvin Hall (1967)

One for the Road (1980)
Live: The Road (1988)
To the Bone (1994)
UK/US Top ten singles
"You Really Got Me" (1964) UK & US

"All Day and All of the Night" (1964) UK & US
"Tired of Waiting for You" (1965) UK & US
"Set Me Free" (1965) UK
"See My Friends" (1965) UK
"Till the End of the Day" (1965) UK
"Dedicated Follower of Fashion" (1966) UK
"Sunny Afternoon" (1966) UK
"Dead End Street" (1966) UK
"Waterloo Sunset" (1967) UK
"Autumn Almanac" (1967) UK
"Lola" (1970) UK & US
"Apeman" (1970) UK
"Come Dancing" (1982) US
Charts, sales certifications and recognition

The Kinks had five Top 10 singles on the US Billboard chart. Nine of their albums charted in the Top 40.[7] In the UK,
the group had seventeen Top 20 singles along with five Top 10 albums.[8] The RIAA has certified four of the Kinks'
albums as gold records. Greatest Hits!, released in 1965, was certified gold for sales of 1,000,000 on 28 November
1968—six days after the release of The Kinks Are The Village Green Preservation Society, which failed to chart
worldwide.[83] The group would not receive another gold record award until 1979's Low Budget. The 1980 live album
One For The Road was certified gold on 8 December 1980. Give The People What They Want, released in 1981,
received its certification on 25 January 1982, for sales of 500,000 copies.[201] ASCAP, the performing-rights group,
presented the Kinks with an award for "One of the Most Played Songs Of 1983" for the hit single "Come Dancing".[141]
The group received the Ivor Novello Award for "Outstanding Service to British Music",[9] and in 1990 the original four
members of the Kinks were inducted into the Rock & Roll Hall of Fame.[2][3] The Kinks were inducted into the UK
Music Hall of Fame in November 2005.[156]
See also
Do It Again, 2009 documentary film
Freakbeat
Swinging London
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ISBN 0-87951-611-9.
Davies, Dave (1996). Kink. Hyperion. ISBN 0-7868-8269-7.
Hinman, Doug (2004). The Kinks: All Day and All of the Night. Hal Leonard Corporation. ISBN 0-87930-765-X.
Kitts, Thomas (2007). Ray Davies: Not Like Everybody Else. Routledge. ISBN 0-415-97769-X.
Marten, Neville; Hudson, Jeff (2007). The Kinks. Sanctuary Publishing. ISBN 1-86074-387-0.
Miller, Andy (2003). The Kinks Are the Village Green Preservation Society. Continuum International Publishing
Group. ISBN 0-8264-1498-2.
Rogan, Johnny (1998). The Complete Guide to the Music of The Kinks. Omnibus Press. ISBN 0-7119-6314-2.
Savage, Jon (1984). The Kinks: The Official Biography. Faber and Faber. ISBN 0-571-13379-7.
Strong, Martin (2006). The Essential Rock Discography. Open City Books. ISBN 1-84195-860-3.
Weisbard, Eric (2004). This Is Pop (https://archive.org/details/thisispopinsearc00weis). Harvard University Press.
ISBN 0-674-01321-2.
External links
Official website (http://thekinks.info)
The Kinks (https://curlie.org/Arts/Music/Bands_and_Artists/K/Kinks%2C_The/) at Curlie
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10/10/2019 The Kinks - Wikipedia

"You Really Got Me" and American touring ban (1964–1965)

Recording began promptly on the group's next project, Kinda Kinks,

Critical success (1965–1972)

Beginning early in 1968, the group largely retired from touring,

Theatrical incarnation (1973–1976)

Return to commercial success (1976–1986)

Decline in popularity and split (1986–1996)

Solo work (1996–2018)

Ray Davies released the solo album Storyteller, a companion piece to X-

Pete Quaife – bass, backing vocals (1964-1966, 1966-1969; died 2010)

Schoolboys in Disgrace (1975)

Live at Kelvin Hall (1967)

UK/US Top ten singles

"You Really Got Me" (1964) UK & US

Charts, sales certifications and recognition

22. Savage, Jon (1984). pp. 15–19

113. Marten, Neville; Hudson, Jeff (2001). pp. 128–129

Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Kinks&oldid=920496611"

This page was last edited on 10 October 2019, at 04:28 (UTC).

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