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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 by the Kinks, The Kinks Are the Village Green Preservation Society, and Arthur (Or the ...
Two lineups of the Kinks in 1965 (top) and 1970 (bottom). The Kinks are an English rock band from Muswell Hill, London. Formed in January 1963, the group originally comprised the Davies brothers Ray (lead vocals, rhythm guitar) and Dave (lead guitar, vocals), Pete Quaife (bass, backing vocals), and Mick Avory (drums). Quaife left the band for five months from June to November 1966, during ...
Before he joined the Kinks, Avory was a member of the band Bobby Angelo & The Tuxedos, who had a No. 30 hit with "Baby Sittin'" in August 1961. After leaving that group, he was asked twice to rehearse on drums at the Bricklayers Arms pub in London during late May/early June 1962 for a group of musicians who were later to become the Rolling ...
The Kinks' early recordings of 1964 ranged from covers of R&B standards like "Long Tall Sally" and "Got Love If You Want It" to the chiming, melodic beat music of Ray Davies's earliest original compositions for the band, "You Still Want Me" and "Something Better Beginning", to the more influential proto-metal, protopunk, power chord-based hard ...
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The Kinks' popularity faltered in 1985, and soon their records ceased to chart altogether. Mick Avory left the band after the Kinks' last album for Arista, Word of Mouth, mainly due to the growing animosity between him and Dave Davies. [17] Bob Henrit was brought in to take Avory's place. At the invitation of Ray Davies, Avory agreed to manage ...
[2] [3] As the song progresses and she goes on with life she continues to dream of Oklahoma and Hollywood ("She walks to work but she's still in a daze/ She's Rita Hayworth or Doris Day/ And Errol Flynn's gonna take her away/ To Oklahoma U.S.A."). The song opens and closes with the lyrics "All life we work, but work is a bore./
In his album review, Stephen Thomas Erlewine of AllMusic called the song one of "three of [Ray Davies's] best melancholy ballads" on Lola Versus Powerman (the other two being "Get Back in Line" and "A Long Way From Home".) [3] Andrew Hickey said in his book, Preservation: The Kinks' Music 1964–1974, that the song is "one of the most affecting ...