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[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./
The song was first released as the B-side to their single "Sunny Afternoon" but soon became a favourite and was often part of the Kinks live act. Ray Davies continues to play the song regularly and used the song as an opening number in his 2006-2008 solo live appearances. Cash Box said that it is a "rhythmic ode about a highly individual type ...
"Catch Me Now I'm Falling" is a song written by Ray Davies and first released by The Kinks as the second track on their 1979 album Low Budget. Written as a criticism of America's allies, the song depicts the fall of Captain America as a symbol of the United States' dire circumstances at the time.
The most misanthropic song he ever wrote: “20th Century Man” (1971) Davies came up with “Muswell Hillbillies’” stomping opener — “I’m a 20th century man but I don’t wanna die ...
Dar Williams covered the song on her album End of the Summer. Fountains of Wayne covered the song on Late Night with Conan O'Brien ten days after the 9/11 terrorist attacks. Their version of the song later appeared on This Is Where I Belong - The Songs of Ray Davies & The Kinks, a tribute CD released on 2 April 2002.
The song, inspired by Superman: The Movie, employs a disco beat and lyrics that describe the singer's wish to be like the fictional character Superman. The song's disco style was created as a response to Arista Records founder Clive Davis's request for "a club-friendly record", despite Ray Davies' hatred of disco.
"Apeman" is a 1970 song by the English rock band the Kinks. It was written by Ray Davies and appears on the album Lola Versus Powerman and the Moneygoround, Part One. Written as a call to return to nature amidst the crowding and industry of the city, the song features calypso stylings.
Kinks' biographer Rob Jovanovic similarly described it as having "Bowie-glam promise" but criticized the production for overly being too "brass-heavy." [ 8 ] Music critic Johnny Rogan summed up his review of the song stating that it contained "elements of the old Kinks' rock/ R&B sound here emerging from behind the expected brass backing."