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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./
"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 song's B-side, "I Need You", makes prominent use of powerchords in the style of the Kinks' early, "raunchy" sound. "Set Me Free" was heard in the Ken Loach-directed Up the Junction, a BBC Wednesday Play which aired in November 1965; this marked the first appearance of a Kinks song on a film or TV soundtrack.
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 ...
"You Really Got Me" was written by Ray Davies, the Kinks' vocalist and main songwriter, sometime between 9 and 12 March 1964. [4] Created on the piano in the front room of the Davies' home, the song was stylistically very different from the finished product, being much lighter and somewhat jazz-oriented. [4]
"Come Dancing" is a tribute to Davies' older sister Rene. Living in Canada with her reportedly abusive husband, the 31-year-old Rene was visiting her childhood home in Fortis Green in London at the time of Ray Davies' 13th birthday—21 June 1957—on which she surprised him with a gift of the Spanish guitar he had tried to persuade his parents to buy him. [3]
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.
Record World said it has "cool, cocky, British vocals observing an American crisis with plenty of wit and rocking rhythm." [4] The track was praised by AllMusic [5] as well as Rolling Stone, who said that "A Gallon of Gas" is "no great poetic achievement, but its slow, bluesy arrangement—meant, no doubt, to re-create the effect of a snail's pace gas line — heightens the good-natured irony ...