Kinks Preservation

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Kinks Preservation
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This was not on the original LP, but rather is a single A-side added to album’s 1998 and later CD reissues. Unusually for a bonus track, it appears at the beginning of the album rather than at the end.

From Wikipedia, the free encyclopedia
"Village Green Preservation Society" redirects here. For the song, see The Village Green Preservation Society .
February 1967 (" Village Green ") March–October 1968 [nb 1]
Unreleased UK twelve-track cover, instead issued in Scandinavia on 9 October 1968

" Starstruck " / " Picture Book " Released: 8 January 1969 (US) [nb 2]

Unlike the rest of the album, the mix of "Picture Book" is comparatively bottom -heavy by emphasising Avory's drumming and Quaife's bass playing. [85]
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In addition to heavy reverb on its drums, percussion and tack piano , the song being recorded in Pye's bigger studio provided it with a noticeably larger sound than the rest of the record. [103]
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The recording's flute opening was achieved by holding down the keys on the Mellotron and allowing each tape loop to spool all the way through. [207] Author Steve Alleman considers the song's Mellotron contribution one of the few times in the Kinks' discography where they approach psychedelia . [208]
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^ " Phenomenal Cat " and " Monica " may have been recorded any time between late 1967 and May 1968. [1] " Mr. Songbird " was recorded around November 1967. [2]

^ The US single was possibly delayed a week to 15 January. [3]

^ An earlier version of the album with only twelve tracks was released in Sweden and Norway on 9 October 1968. [4]

^ The second side consists of the following titles: "The World Keeps Going Round", "I'm on an Island", " Where Have All the Good Times Gone ", "It's Too Late", "What's in Store for Me" and "You Can't Win". [20]

^ Ray and Hinman both write "Village Green" was re-recorded entirely in February 1967. [36] Miller raises the possibility that the band recorded the basic track in November 1966 and overdubbed additions in February 1967. [37]

^ In Hinman and Brabazon's 1994 discography, they date "Phenomenal Cat" from late 1967 to mid-1968 and "Monica" to spring 1968. [42] In Hinman's 2004 book examining the Kinks' day-by-day history, he instead writes the two songs may have been recorded any time between late 1967 and May 1968. He further hypothesises that they were recorded closely together because their master tapes are listed next to one another in Pye's archives. [1]

^ Jump up to: a b Sources vary in their spelling of his lastname. Most, including Ray in his autobiography, spell it MacKenzie , [381] while others use Mackenzie [46] or McKenzie . [382] The original liner notes typeset it as MACKENZIE . [368]

^ "Berkeley Mews" was released in the UK as the B-side to the 1970 single " Lola ", "Did You See His Name" in 1972 on the US-only compilation album The Kink Kronikles and "Rosemary Rose" in 1973 on another US-only compilation album, The Great Lost Kinks Album . [50]

^ "Misty Water" and "Pictures in the Sand" remained unreleased until 1973 on The Great Lost Kinks Album . [54]

^ The original fifteen tracks included " She's Got Everything ", "Monica", "Mr. Songbird", "Johnny Thunder", "Polly", "Days", "Animal Farm", "Berkeley Mews", "Picture Book", "Phenomenal Cat", "Misty Water", "There's Is No Life Without Love", " Autumn Almanac ", "Did You See His Name" and " Susannah's Still Alive ". [59] Reprise cut the last four tracks to reduce the track listing to eleven. [60]

^ Dave later recalled that while the band expected to play at "rock festivals", they were instead disappointed to find their shows a mix of Kinks fans and parents with their children. [62]

^ In his autobiography, Ray dates the move to before the writing of Village Green . [66] Band biographers instead write it occurred during the band's two-week holiday from 27 July to 12 August 1968 , [63] after the album had been mostly written and recorded. [65] Miller connects Ray's bleak memories of moving to both the commercial failure of Village Green and his early work on both " Plastic Man " (1969) and Arthur . [65]

^ Something Else by the Kinks includes a mixture of tracks produced by either Ray or Talmy. [81] Though Talmy produced the song "Village Green", the liner notes of Village Green instead credit Ray, who produced all of the album's other tracks. [82]

^ Jump up to: a b Miller and Hinman write that Whitaker only arranged "Village Green", [379] Miller further specifying that the string sounds on "Animal Farm" were made with a Mellotron. [103] In his liner notes to the album's 50th anniversary release, Andy Neill writes that Whitaker arranged real strings for both "Village Green" and "Animal Farm". [102] While most of the album was recorded in Pye Studio 2, Avory recalls "Animal Farm" being recorded in No. 1, which Miller writes was "normally used ... when orchestral backing was required". [380]

^ Hinman writes Whitaker may have also arranged strings for the non-album B-side "Polly", which he thinks was likely recorded the same month as "Animal Farm". [51]

^ For example, on "Animal Farm" the Davies brothers and Quaife argued over the song's opening; Quaife thought the bass should double the piano during in its introduction, but the brothers rejected the idea and instead arranged for a "zooming" bass line. [111]

^ Quaife stated Ray changed the cartoon character to the word Daze in retellings because "it makes a better story". [116]

^ Ray later suggested his anger at Quaife was instead anger at himself for becoming conceited over his songwriting. [117] Dave reflected that the event marked Quaife's growing disillusionment with the band's musical direction and an expression of his jealousy and resentment towards Ray. [118]

^ In January 1968, Reprise distributed mono copies of Something Else by the Kinks in the US for promotional reasons only. [126]

^ Miller contends the technique can be heard on "Last of the Steam-Powered Trains", "Big Sky", "All of My Friends Were There", "Mr. Songbird" and especially "People Take Pictures of Each Other", which he thinks ends with a whimper of, "please, don't show me any more". [147]

^ Miller also compares the dreams of the golden country in Nineteen Eighty-Four to the album and the larger pastoral tradition. [157] The title of the song "Animal Farm" references Orwell's 1945 novella of the same name, and the Kinks' later concept albums, Preservation Act 1 (1973) and Preservation Act 2 (1974), are similar to the totalitarian dystopia depicted in Nineteen Eighty-Four . [158]

^ Miller believes Hopkins played the piano, since a version the Kinks recorded for the BBC on 26 November 1968 features Ray playing the keyboard with "a somewhat less steady hand". [164] Hinman instead writes Hopkins's last appearance on a Kinks' song was likely around mid-July 1968 on "People Take Pictures of Each Other", before the mid-August recording of "The Village Green Preservation Society". [165]

^ Alleman's other examples of the Kinks approaching psychedelia include the "strange yawning sound in the bass" on "Lazy Old Sun", the "blastoff intro" of "King Kong" and the Mellotron contributions to "Phenomenal Cat". [208]

^ While Quaife and Avory remembered the day fondly, [247] Ray recalled in his 1994 autobiography that the photo session "documented the end of the band". [248]

^ Author Peter Doggett suggested in 1998 that the New Zealand pressings were "[p]ossibly the rarest commercially pressed Kinks [LPs]". [257] In a 2000 piece for Record Collector magazine discussing the different album sleeves, Andy Neill valued a mint copy of the New Zealand edition the highest at around £400 (equivalent to £720 in 2021). [253]

^ Because of the songs' more elaborate productions, "Johnny Thunder" and "Animal Farm" were remixes of the studio versions rather than new recordings. [45]

^ The single was also released in parts of continental Europe , [276] including West Germany and parts of Scandinavia . [277] In late November 1968 , the Kinks filmed a promotional film for the European release on Hampstead Heath. It was later broadcast on Dutch television in December and is likely the last surviving footage of the band's original line-up. [278] Both sides of the single appeared on charts in the Netherlands and Belgium's French-speaking region of Wallonia . [279]

^ Rogan writes the single was released in August 1969, [304] as do Hinman and Jason Brabazon in their self-published band discography. [305] Village Green 's 50th anniversary release includes a replica of the 7" single, with notes printed on its sleeve stating it was originally released in July 1969. [306]

^ For example, MacDonald writes the Kinks' single " Victoria " from Arthur (Or the Decline and Fall of the British Empire) (October 1969) was styled after the American blues band Canned Heat . [9]

^ Dave later said that Townshend tried to acquire the album's original master tapes, [332] and also suggested that Townsend incorporated the opening riff of "Johnny Thunder" into his own compositions. Miller writes the riff can possibly be heard in the Who's songs " Overture " and " Go to the Mirror! " from their May 1969 album, Tommy . [334]

^ During Blur's 1992 American tour, Albarn found that he "started to miss really simple things [about England]". [341] John Harris of The Guardian suggests the Kinks' influence is apparent on several of Albarn's compositions, such as "Tracy Jacks" from Parklife , which features a George Bowlingesque character. [339]

^ Attributed to multiple references: [363] [364] [365] [366] [367]

^ On the label, "The Village Green Preservation Society" is without the The , "Do You Remember Walter" includes a question mark and "Last of the Steam-Powered Trains" has a The in-front. [368] "Phenomenal Cat" was misspelled on the sleeve as "Phenominal Cat". [264]

^ The Italian edition swaps the position of "Days" and "People Take Pictures of Each Other". [370]


"Nederlandse Top 40 – The Kinks" (in Dutch). Dutch Top 40 . Retrieved 5 June 2022 . "The Kinks – Starstruck" (in Dutch). Dutch Single Top 100 . Retrieved 5 June 2022 . "The Kinks – Starstruck" (in French). Ultratop . Retrieved 5 June 2022 . "The Kinks – Picture Book" (in French). Ultratop . Retrieved 5 June 2022 .

Alleman, Steve (2002). " 'The Hard Way' or 'Something Better Beginning' – An Alternate View of The Kinks' Artistic Development". In Kitts, Thomas M. (ed.). Living on a Thin Line: Crossing Aesthetic Borders with The Kinks . Rumford, Rhode Island: Desolation Angel Books. pp. 44–51. ISBN 0-9641005-4-1 .
Carroll, Steve (2002). "Two Views of Paradise: The Inner Geography of Ray Davies and Brian Wilson". In Kitts, Thomas M. (ed.). Living on a Thin Line: Crossing Aesthetic Borders with The Kinks . Rumford, Rhode Island: Desolation Angel Books. pp. 165–170. ISBN 0-9641005-4-1 .
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Costambeys-Kempczynski, Raphael (2014). "Preservation Society". In Harris, Trevor; O’Brien Castro, Monia (eds.). Preserving the Sixties: Britain and the 'Decade of Protest' . Houndmills: Palgrave Macmillan . pp. 173–191. ISBN 978-1-137-37410-3 .
Field, Elizabeth (2002). "Skin and Bone, Tea and Scones: Food and Drink Imagery in The Kinks' Music, 1964–1997". In Kitts, Thomas M. (ed.). Living on a Thin Line: Crossing Aesthetic Borders with The Kinks . Rumford, Rhode Island: Desolation Angel Books. pp. 61–67. ISBN 0-9641005-4-1 .
Fleiner, Carey (2017b). " 'Rosy, Won't You Please Come Home': Family, home and cultural identity in the music of Ray Davies and the Kinks" . In Brooks, Lee; Donnelly, Mark; Mills, Richard (eds.). Mad Dogs and Englishness: Popular Music and English Identities . New York City: Bloomsbury Academic . pp. 19–35. ISBN 978-1-5013-1127-7 .
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Anon.[a] (1968). The Kinks Are the Village Green Preservation Society (Liner notes). The Kinks . Pye Records . NPL 18233.
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Anon. (2018). "The Village Green Preservation Society" (Liner notes). The Kinks . BMG , Pye Records . BMGAA09BOX10.
Davies, Ray (2002). This Is Where I Belong: The Songs Of Ray Davies & The Kinks (Liner notes). Various artists. Praxis Records. RCD 10621.
Doggett, Peter (1998). The Kinks Are the Village Green Preservation Society (Liner notes). The Kinks . Essential . ESM CD 481.
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The Kinks Are the Village Green Preservation Society is the sixth studio album by the English rock band the Kinks . It was released on 22 November 1968 in the United Kingdom by Pye Records and in February 1969 in the United States by Reprise Records . [nb 3] The album had no accompanying lead single in the UK, though " Starstruck " was issued in the US and Europe. A modest seller on release, it was the band's first studio album which failed to chart in either country, but was lauded by contemporary critics for its songwriting. It was embraced by America's new underground rock press , completing the Kinks' transformation from mid-1960s pop hitmakers to critically favoured cult band.

Bandleader Ray Davies loosely conceptualised the album as a collection of character studies, an idea he based on Dylan Thomas 's 1954 radio drama Under Milk Wood . Centring around themes of nostalgia, memory and preservation, the album reflects Davies's concerns about the increasing modernisation and encroaching influence of America and Europe on English society. Musically an example of pop or rock music, the album incorporates a range of stylistic influences, including music hall , blues , psychedelia and calypso . It was the first album which Davies produced on his own and was the last to feature the original Kinks line-up, as bassist Pete Quaife departed the band in March 1969. It also marked the final collaboration between the Kinks and session keyboardist Nicky Hopkins , whose playing features heavily on piano, harpsichord and Mellotron .

Other than " Village Green ", which was recorded in November 1966 and then re-recorded in February 1967, sessions for the album began in March 1968 at Pye Studios in London. In addition to the non-album singles " Wonderboy " and " Days ", the sessions resulted in numerous tracks, some of which went unreleased for years. The album's planned September 1968 release was delayed by two months in the UK after Davies's last-minute decision to rearrange and augment the track listing, though release of the earlier twelve-track edition went ahead in several European countries.

Village Green is regarded by commentators as an early concept album . Despite its initial commercial shortcomings, it has influenced numerous musical acts, especially American indie artists from the late 1980s and 1990s and Britpop groups like Blur and Oasis . Driven in part by this influence, the album experienced a critical and commercial resurgence in the 1990s, and it has been reissued several times, including an expanded edition in 2018. The album has since become the Kinks' best-selling album in the UK, where it was certified silver in 2008 and gold in 2018. It has been included in several critics' and listeners' polls for the best albums of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums .

Primarily known as a singles act, [5] the Kinks assembled their early LPs without thought to making a greater artistic statement. [6] Following the success of " A Well Respected Man " as a US single in November 1965, Ray Davies , the Kinks' principal songwriter, promised in media interviews that the band would release songs satirising contemporary fashion and social trends on EPs , a medium which would compromise between the longer format of an LP and individual singles. [7] In July 1965, the Kinks were informally blacklisted from US performance by the American Federation of Musicians due to the band's unprofessional onstage behaviour. [8] Author Ian MacDonald suggests the ban left the group comparatively isolated from American influence, guiding them away from their earlier blues -based riffing towards a distinct English style evident throughout their late 1960s work. [9] In early 1966, Ray grew obsessed with aspects of English aristocracy and the country's dying traditions. [10] He expressed his pride of Britain in an April 1966 interview with Melody Maker magazine, saying he wished its culture could remain distinct from that of America and Europe. He further indicated his desire to keep writing "very English songs" and ho
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