The Kinks
were one of the most influential English rock bands of the 1960s and were a
part of the British Invasion in the United States. Formed in 1964 in Muswell
Hill, North London, by brothers Ray Davies and Dave Davies, the band was
influenced by a variety of genres ranging from R&B and rock and roll to
British music hall, folk and country. Unlike their contemporaries, their music
was drenched in the English culture and their lyrics reflected the English
lifestyle.
The Kinks may
not have gained the glamour and the mammoth riches of The Beatles and Rolling
Stones, but they did gather up more critical appreciation than everyone else.
By using the Davies brothers’ pop sensibilities and caustic wit, The Kinks
forged a career not built out of marketing or clever promotion but of authentic
and sincere songs. One such track is their iconic number ‘Sunny Afternoon’.
The central
figures of the Davies brothers remained members of the band throughout its
32-year long career. Other members over the years included the likes of Mick
Avory, Pete Quaife, John Dalton, Andy Pyle, Jim Rodford, Ian Gibbons, Bob
Henrit, and others, and major contributors included Bobby Graham, Nicky Hopkins
and so on. The Kinks were active for more than three decades between 1964 to
1996 and released 24 studio albums and enjoyed a number of major commercial and
critical successful single releases. It’s a career that many hope for but few
ever attain.
Some of their
greatest albums included Face to Face in 1966 and Something Else by the Kinks a
year later in 1967. While the world of popular culture entered massive change
between the 1960s and ’70s, The Kinks remained at the peak of the powers and,
in 1978, released Misfits and were greeted by yet more success. Not content
with resting on their laurels, the band were able to prove their worth across
three decades when they released in State of Confusion in 1983 to yet more
acclaim. Despite all the success, it is in the late 1960s that most fans of The
Kinks hark back to in nostalgic celebration. In 1967, following the release of
Sunny Afternoon, an album shared just two months after Something Else by The
Kinks, the band found themselves flying high at number two on the UK charts.
The album consisted of some of the most popular singles by the band and, of
course, the title track ‘Sunny Afternoon’ was one of their top successes.
‘Sunny
Afternoon’ was written by Ray Davies when he was tired, sick and lonely in
London. Given the chance to write some music to express himself, there was only
one track that would come out. He once said, “I’d bought a white upright piano.
I hadn’t written for a time. I’d been ill. I was living in a very
1960s-decorated house. It had orange walls and green furniture. My one-year-old
daughter was crawling on the floor and I wrote the opening riff. I remember it
vividly. I was wearing a polo-neck sweater.” The Kinks had been gaining huge
success and, while they continued to live in Britain and maintain their
citizenship, Davies was not happy about his situation.
The song’s
lyrics referred to the high levels of progressive taxes that the British Labour
Government of Harold Wilson used to levy on high earners — something The Kinks
had just become. While the backstory to the track was more political than it
led on, with its breezy music and poppy rhythm, it came out of how poorly
Davies felt when he was sick. Davies felt screwed by his government, having
worked up the ladder to reach unchartered heights only to have his account
ransacked. “The only way I could interpret how I felt was through a dusty,
fallen aristocrat who had come from old money as opposed to the wealth I had
created for myself.”
It’s not just
a track about a rich man becoming slightly poorer, the song also mocked the
affluent sections of the society and their lifestyle. This is where the
brilliance of the song lies. Davies didn’t want his audience to sympathise with
the misfortunes of the protagonist of the story he wanted them to be expressed
but, having been a working class lad himself, he knew he’d find no empathy in
his audience.
So, he
portrayed him as “a scoundrel who fought with his girlfriend after a night of drunkenness
and cruelty.” Referring to the line in the song, “I got a big fat mama trying
to break me”, Davies said, it “alludes to the government, the British Empire,
trying to break people. And they’re still doing it. How are we going to get out
of this f—ing mess?” On the contrary, the song may also have hinted to the
simpler joys of life, like “lazing on a sunny afternoon in the summertime.”
Ray Davies
was always a man who worked far beyond his years and it seemingly drifted into
his vocal tone too. “I did it in one take and when I heard it back, I said,
‘No, let me do it properly,’ but the session was out of time. So that was the
vocal,” he explained. “I heard it again the other day. I was 22 but I sound
like someone about 40 who’s been through the mill. I really hang on some of the
notes. A joyous song, though, even if it’s suppressed joy. I had real fun
writing that.”
He said, “I
once made a drawing of my voice on ‘Sunny Afternoon’. It was a leaf with a very
thick outline—a big blob in the background—the leaf just cutting through it.”
The song may well have some complex originations but it is also one of the most
sincere and authentic cuts from the band. Much of that may be down to the
song’s spontaneous recording sessions: “‘Sunny Afternoon’ was made very
quickly, in the morning, it was one of our most atmospheric sessions. I still
like to keep tapes of the few minutes before the final take, things that happen
before the session. Maybe it’s superstitious, but I believe if I had done
things differently—if I had walked around the studio or gone out—it wouldn’t
have turned out that way.” The singer speaks candidly about the circumstances
surrounding the studio at the time.
“The bass
player went off and started playing funny little classical things on the bass,
more like a lead guitar: and Nicky Hopkins,” continued Davies, “Who was playing
piano on that session, was playing ‘Liza’—we always used to play that
song—little things like that helped us get into the feeling of the song. At the
time I wrote ‘Sunny Afternoon’ I couldn’t listen to anything. I was only
playing The Greatest Hits of Frank Sinatra and Dylan’s ‘Maggie’s Farm’—I just
liked its whole presence, I was playing the Bringing It All Back Home LP along
with my Frank Sinatra and Glenn Miller and Bach—it was a strange time. I
thought they all helped one another, they went into the chromatic part that’s
in the back of the song.”
‘Sunny
Afternoon’, which was released as a single on June 3rd, 1966, was the third and
final number one hit for The Kinks in the UK. More than that, it remains one of
the go-to songs for any lazy afternoon, sunny or otherwise.
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