|
|
|
|
|
|
THE BRITISH INVASION
"Garage
bands" and the increased popularity of the electric
guitar, which they fostered, came into being largely as
a result of the "British Invasion", circa 1964.
But at the time of that auspicious musical awakening,
young fans-turned-pickers were most interested not in
string gauges, amp cords, and rotating speakers, but in
such relevant concerns as which band members were married
or single, their favorite colors, and whether they preferred
Italian or Chinese food.
The liner notes to the Kinks' second album, Kinks-Size,
are full of such insightful tidbits - hobbies, pet peeves,
most thrilling experiences.
But
hidden in the middle of the group's mini-personality profile,
lead guitarist Dave Davies, then of all seventeen, listed
some of his "early influences. No doubt the the names
meant little or nothing to the record buyers at the time,
but the information now provides a unique insight into
the the beginnings of one of England's most long-lived
and influential units.
|
Dave Davies' favorites were American bluesman Big Bill
Broonzy, jazz guitar innovator Tal Farlow, and British
R&B leader Cyril Davies (no relation). Under the
category of "favorite composers," Dave further
outlines his varied tastes by naming Johann Sebastian
Bach, Gershwin, Chuck Berry and older brother Ray Davies.
For an event so crucial in the history of pop music,
the "British Invasion" produced little of
enduring worth. Out of it, only the music of the Beatles,
the Rolling Stones, the Who and the Kinks have lasted;
the Searchers, Herman's Hermits, Gerry and the Pacemakers,
and all the rest today seem quainter than doo-woop.
The Kinks' inclusion into such a selected group is usually
attributed to leader/composer/lead singer Ray Davies,
whose songwriting skill is often regarded as second
only to Lennon-McCartney. Some supporters, like Ken
Emerson, writing in the The Rolling Stone Illustrated
History of Rock&Roll, are quick to point out that
Ray's 1965 composition "Well Respected Man"
revealed a social satirist whose knack for details made
commentary such as the Beatles' in "Nowhere Man"
seem vapid.
|
But "You Really Got Me," the Kinks' first international
hit, was far from a lyrical masterpiece, and harmonically
its overriding riff consisted, basically of two barre chords.
Today, when using the song on-stage, Ray gives credit to
his younger brother for coming up with the sound which set
the whole ball rolling... and I claim that was the beginning
of hard rock (and heavy metal later)!
|
|
|
|
|