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"Set Me Free" is a song by Ray Davies, released first by the Kinks in 1965. Along with " Tired of Waiting for You ", it is one of band's first attempts at a softer, more introspective sound. The song's B-side, " I Need You ", makes prominent use of powerchords in the style of the Kinks' early, "raunchy" sound.
The song includes a saxophone solo that Billboard described as "hot," as well as a guitar solo by Dave Davies. [2] [4] Cash Box said the song was "topical" with "a hypnotic blues-rock beat," summarizing the song as "good natured pop with a message." [5] Record World called it "a vintage Kinks rocker complete with raging guitar lines and a ...
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 ...
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 ...
"Juke Box Music" has been positively reviewed by many critics. Robert Christgau recommended the track in his review of the Sleepwalker album, [4] and Rolling Stone claimed that it "is the best song [on Sleepwalker]." [3] AllMusic called the track "exceptional", [5] and said it was "yet another impressionistic portrait by the Kinks' Ray Davies". [6]
[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, 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.
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 ...