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Home , 20th Century Man, Have a Cuppa Tea, Konk (recording studio), Muswell Hillbillies, Pete Quaife

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SEL#: - DATE: FEB 1013 L/S: TECH: CYAN MAGENTA TOTAL LABEL: UMC / Sanctuary FILE NAME: YELLOW BLACK NUMBER OF BACK ARTIST: KINKS JOB #: PMS PMS COLORS FRONT TITLE: MUSWELL HILLBILLIES (2CD Deluxe Edition) SEPARATOR: TEMPLATE: UMG_CD_BOOK_SADDLE_JUL00.qxt

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2 THE KINKS MUSWELL HILLBILLIES 23

DISC ONE Horn overdubs on Disc One: 2, 5 & Disc Two: 1 Recorded Morgan Studios, London, October 22, 1971. Released as ‘Muswell Hillbillies’ on All tracks recorded Morgan Studio 1, London except US LP RCA Victor LSP-4644, November 24, 1971 Disce: 7 On & 10 recorded in Studio 2; Disc Two: 12-14 UK RCA Victor SF 8243, November 26, 1971 recorded BBC Kensington House Studio T-1, London, May 5, 1972. All tracks originally mixed Morgan Studios, London, late October/early November 1971 1 20th Century Man 5:55 except for BBC recordings and as noted. Recorded October 6, 1971 All songs recorded 8-track except Disc One: 1, 7 & 2 Acute Schizophrenia Paranoia Blues 12 recorded 16-track; Disc Two: 7 on 3 tracks of 3:30 16-tracks; 12-14 unknown. Disc One: Tracks 1-12 released as ‘Muswell Hillbillies’ Recorded August 25, 1971 All songs originally engineered by M ike Bobak on US LP RCA Victor LSP-4644, November 24, 1971 except 20th Century Man by Roger Quested; UK RCA Victor SF 8243, November 26, 1971 3 Holiday 2:39 assistant engineers: Mike Butcher, Barry Hammond, Recorded September 3, 1971 Martin Levan, Greg Jackman, Peter & Neil. Musicians BBC recordings engineered by Bob Conduct. 4 Skin And Bone 3:38 Ray Davies: guitars & vocals 2 Recorded September 3, 1971 Dave Davies: guitars & vocals Re-mastered by Andrew Sandoval and Dan Hersch 23 John Dalton: bass guitar with thanks to Andy Pearce 5 Alcohol 3:35 Mick Avory: drums Co-ordination for Universal: Steve Hammonds C M John Gosling: keyboards, squeeze box, harmonium C M 119.5MM Y B Recorded September, 1971 A&R: Ed Carruthers Y B Sleeve notes: Daniel Rachel (4.71”) 6 Complicated Life 4:02 Horns by The Mike Cotton Sound Annotations: Doug Hinman Recorded September 16, 1971 Disc One: 2, 5 & Disc Two:1, 12-14 Mike Cotton: trumpet CD package designed by: Phil Smee 7 Here Come The People In Gray 3:45 except BBC sessions: Disc Two: 12-14 Mike Rosen at Waldo’s Design & Dream Emporium, St Albans Recorded August 25, 1971 DISC TWO Alan Holmes: clarinet John Beecham: trombone, tuba Original LP design and photography by 8 Have A Cuppa Tea 3:43 1 Lavender Lane 3:49* Vicki Brown: female backing vocals: Disc One: 4 & 9 Bloomsbury Group Ken Jones: harmonica: Disc One Recorded September 20, 1971 Recorded Morgan Studio 1, London, September 20, Memorabilia and photos courtesy: Doug Hinman and the Strange Things Archive 9 Holloway Jail 3:25 1971. Mixed by Dougal Lo tt, Konk Studios, London, All songs produced by Raymond Douglas Davies Recorded August 29, 1971 December 2012. BBC tracks produced by John Walters Thanks to: 2 Mountain Woman 3:09 Doug Hinman, Johnny Hudson, Chris Metzler, 10 Oklahoma U.S.A. 2:38 All tracks written by Raymond Douglas Davies Klaus Schmalenbach, Russell Smith, Barbara Cherone Recorded Morgan Studio 1, London, September 16,

Recorded September 16, 1971 and Dave Collins SAFETY TRIM BLEED 1971. Mixed by Richard Edwards, assisted by Albert All songs published by Sony / ATV Music Publishing 11 Uncle Son 2:30 Pinheiro, Konk Studios, London, February 27, 1998. (UK), except ‘Acute Schizophrenia Paranoia Blues’, Disc One p 2008 Kinks Properties Ltd., under exclusive ‘Have A Cuppa Tea’, ‘Lavender Lane’, ‘Nobody’s Fool’ Recorded September 20, 1971 Originally released on US Muswell Hillbillies licence to Universal Music TV a division of Universal and ‘20th Century Man’ published by Davray Music Music Operations Ltd. Disc Two p 2013 Kinks 12 Muswell Hillbilly 4:56 CD Velvel 63467-78719 2, July 14, 1998; in the UK Ltd.; ‘Holiday’, ‘Complicated Life’, ‘Holloway Jail’, Properties Ltd., under exclusive licence to Sanctuary August 31, 1998. Recorded October 17, 1971 ‘Uncle Son’, ‘Mountain Woman’ and ‘Kentucky Moon’ Records Group Ltd., except tracks 2 & 6 p 2008 Kinks published by Sony ATV Tunes LLC O/B/O Properties Ltd., and tracks 11 & 13 p 1972 BBC, under Davray Music Ltd. exclusive licence to Sanctuary Records Group Ltd.

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22 THE KINKS 3

And use you all your life. Never seen New Orleans, Oklahoma, Tennessee, 3 Have A Cuppa Tea 9 20th Century Man (1976 remix) 5:03 Still I dream of the Black Hills that I ain’t never seen. Bless you uncle son, (alternate version) 3:32* Recorded Morgan Studio 1, October 6, 1971. Remixed They won’t forget you when the revolution comes. They’re putting us in little boxes, Recorded Morgan Studio 1, London, September 20, by Ray Davies and Roger Wake, Konk Studios, No character just uniformity, 1971. Mixed by Dougal Lott, Konk Studios, London, London, March 1976. Originally released on US LP Muswell Hillbilly They’re trying to build a computerised community, December 2012. The Kinks’ Greatest/Celluloid Heroes RCA Victor But they’ll never make a zombie out of me. Well I said goodbye to Rosie Rooke this morning, APL1-1743, May 1976; in the UK RCA Victor RS I’m gonna miss her bloodshot alcoholic eyes, They’ll try and make me study elocution, 4 Muswell Hillbilly (1976 remix) 3:49 1059, June 25, 1976. She wore her Sunday hat so she’d impress me, Because they say my accent isn’t right, Recorded Morgan Studios, London, October 17, 1971. I’m gonna carry her memory ‘til the day I die. They can clear the slums as part of their solution, Remixed by Ray Davies and Roger Wake, Konk 10 Queenie But they’re never gonna kill my cockney pride. Studios, London, March 1976. Originally released on (instrumental backing track) 3:41* They’ll move me up to Muswell Hill tomorrow, Photographs and souvenirs are all I’ve got, Cos I’m a Muswell Hillbilly boy, US LP The Kinks’ Greatest/Celluloid Heroes RCA Recorded Morgan Studios, London, September 1971. They’re gon na try and make me change my way But my heart lies in Old West Virginia, Victor APL1-1743, May 1976; in the UK RCA Victor Mixed by Dougal Lott , Konk Studios, London, of living, Though my hills are not green, RS 1059, June 25, 1976. December 2012. But they’ll never make me something that I’m not. I have seen them in my dreams, Take me back to those Black Hills, 5 Uncle Son (alternate version) 2:43* 12 Acute Schizophrenia Paranoia Blues Cos I’m a Muswell Hillbilly boy, That I have never seen. Recorded Morgan Studios, London, September 20, (BBC version) 3:47 22 but my heart lies in old West Virginia, 3 1971. Mixed by Dougal Lott, Konk Studios, London, Originally broadcast BBC Radio-1 programme The December 2012. John Peel Show, May 16, 1972. Originally released on C M C M 119.5MM Y B 6 Kentucky Moon 3:54 UK The Kinks At The BBC 5CD/1 DVD boxed set Y B Recorded Morgan Studio 1, London, September 16, Sanctuary 279 721-8, August 21, 2012. (4.71”) 1971. Mixed by Richard Edwards, assisted by Albert 13 Holiday (BBC version) 3:12 Pinheiro at Konk Studios, London, February 27, 1998. Originally broadcast BBC Radio-1 programme The Originally released on US Muswell Hillbillies John Peel Show, May 16, 1972. Originally released on CD Velvel 63467-78719 2 , July 14, 1998; in the UK UK Th e Kinks: BBC Sessions, 1964-1977 2CD August 31, 1998. Sanctuary SAND10, March 12, 2001; in the US 7 Nobody’s Fool (demo) 2:36* Sanctuary 06076 84504-2, March 20, 2001. Recorded Morgan Studio 1, London, October 6, 1971. 14 Skin And Bone (BBC version) 2:38 Mixed by Dougal Lott, Konk Studios, London, Originally broadcast BBC Radio-1 programme The December 2012. John Peel Show, May 16, 1972. Originally released on 8 20th Century Man UK The Kinks: BBC Sessions, 1964-1977 2CD (alternate instrumental take) 3:02* Sanctuary SAND10, March 12, 2001; in the US SAFETY TRIM BLEED Recorded Morgan Studio 1, London, October 6, 1971. Sanctuary 06076 84504-2, March 20, 2001. Mixed by Dougal Lott, Konk Studios, London, December 2012.

* PREVIOUSLY UNRELEASED

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4 THE KINKS MUSWELL HILLBILLIES 21

longside The Beatles, The Stones and The Who, Muswell Hillbillies opens with ‘20th Century Man’ You get tea with your afternoon tea She was a lady when she went in, AThe Kinks defined the Sixties musical landscape. casting the polemic of past, present and future. The For any old ailment or disease Now she’s in jail, and it’s giving me hell. Then, as popular culture embraced drugs and writer recognises the age of machinery and the wonderful For Christ sake have a cuppa tea. She’s impaled, in Holloway jail. psychedelic sounds, the commercial success of the world of technology but in the next breath sings I don’t Chorus, north London four-piece suddenly waned – The wanna be here. Ray Davies: “I’m singing as if it’s down Oklahoma U.S.A. Kinks went their own way. After the top ten hits of to my chest. I don’t really want the listener in on Whatever the situation whatever the race or creed, ‘Waterloo Sunset’ and ‘Autumn Almanac’, in 1967, everything I’m saying – it almost needs sub-titles.” Tea knows no segregation, no class nor pedigree All life we work but work is bore, The Kinks would not chart again as highly for a The tight, closeted sound is very much a production It knows no motivations, no sect or organisation, If life’s for livin’ what’s livin’ for, further three years. The Summer of Love dissolved in feature of the album. The atmosphere is dry, direct It knows no one religion, She lives in a house that’s near decay, a cold breeze and a darker decade loomed. Ironically, and largely unrestricted by studio effects. The Nor political belief. Built for the industrial revolution, But in her dreams she is far away, the songwriting of Ray Davies blossomed and his strength of The Kinks was allowing the Chorus. group issued a remarkable set of innovative works. storytelling to dictate the aural experience. “I In Oklahoma U.S.A. Artistic progression was in abundance and The Kinks wrote a little fictional script which I worked Holloway Jail With Shirley Jones and Gordon McRea, went from Black & White to Technicolor: The Village out before I wrote the song. ‘20th Century As she buys her paper at the corner shop, They took my baby, to Holloway jail, She’s walkin’ on the surrey with the fringe on top, Green Preservation Society in 1968 , Arthur (Or The Man’ was a person that was holed up. He They took my baby, down Holloway jail, Cos in her dreams she is far away, Decline And Fall Of The British Empire) in 1969, and attached dynamite to all the doors and She was a lady, when she went in, In Oklahoma U.S.A., in November 1970 Lola Versus Powerman And The windows and threatened to blow himself up if 4 Now she’s in jail, and it’s giving me hell. She walks to work but she’s still in a daze, 21 Moneygoround • Part One. Each record captured an they demolished his house; the last house She was just succeeding in the city, She’s Rita Hayworth or Doris Day, evolving and broadening musicianship. The three standing in the street.” Dave Davies: And Errol Flynn’s gonna take her away, C M long players were constructed around individual “People want to destroy small things of She was just beginning to excel, C M 119.5MM Y B To Oklahoma U.S.A., Y B thematic links and stand firm amongst The Kinks beauty. Is it because we’ve become more Then a spiv named Frankie Simes (4.71”) Led her to a life of crime, All life we work but work is a bore, finest works. Yet despite over half a dozen associated technologically minded or is it just a path If life’s for livin’ then what’s livin’ for. singles, including ‘Days’, ‘Shangri-La’ an d ‘Lola’, the that leads up your own arse?” And led her on the downward trail. albums failed to make any impression on the single Frankie came home late from work one evening, Uncle Son buying public. There followed a film soundtrack ‘Here Come The People in Grey’, The C.l.D. were hot on his trail, workin’ man, Percy and then after an eight year relationship The originally positioned as the first track on Frankie promised everything, He was just a Simple rules and simple plans, Kinks left their record label, Pye. Released on R.C.A. side two, is central to the album concept of And then he went and turned her in, Fancy words he didn’t understand, Records in November 1971 Muswell Hillbillies was a ‘us’ and ‘them’. It describes Her Majesty’s She went an d took the rap for him, He loved with his heart, startling presentation. It was The Kinks as never Government’s faceless communication with a Now she’s impaled in Holloway jail. He worked with his hands. heard before. Viewed more than forty years on, it is a council tenant. Musically, the echoes of Chuck They took my baby, down Holloway jail, fascinating oddity and simultaneously one of their Berry resound as the protagonist declares I’m They took my baby, to Holloway jail, Liberals dream of equal rights, greatest records. The twelve track disc was an gonna fight me a one man revolution. Late Sixties There ain’t no pity, there ain’t no bail, Conservatives live in a world gone by, appropriation of American musical forms, London was still a playground of history scarred And she assures me that it’s living hell. Socialists preach of a promised land, wallpapered and embedded with an indigenous by the Luftwaffe’s wartime air raids, but now But old uncle son, was an ordinary man. English quality. It was a melting pot of stateside remaining bomb sites were being cleared to allow She was young and ever so pretty, SAFETY TRIM BLEED Now she looks so old and pale, Bless you uncle son, genres encompassing Delta blues, New Orleans jazz local council planning housing renewals. Ray Davies’ They won’t forget you, when the revolution comes. and Sun Records country. Julien Temple: “The Kinks lyricism focused attention to the lives of everyday She never sees the day, had in one stroke made US music their own, people affected by government policies. Beyond She wastes her life away, Unionists tell you when to strike, reinventing it as north London blues.” At the heart simple reportage, his songs imaginatively and Sitting in that prison cell. Generals tell you when to fight, Preachers tell you wrong from right, of the record lay a troubled dialogue; the inherent poetically recast local personalities. “I used characters They took my baby to Holloway jail, contradiction between tradition and modernity. that I heard my parents talk about like Frankie Simes. They locked my baby, in Holloway jail, They’ll feed you when you’re born,

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20 THE KINKS MUSWELL HILLBILLIES 5

Gonna beat those people in grey, I’m gonna pass me a brand new resolution, But here come the people in grey, I’m gonna fight me a one man revolution, someway, To take me away. Gonna start my rebellion today. But here come the people in grey, The people in grey have gone and taken away my right to To take me away. voice my complaint, Her Majesty’s Government have sent me a form I must Oh, Lord, those people in grey, complete it today. I gotta get back at those people in grey, But it’s making me blue, don’t wanna tell all my secrets to Here come the people in grey, The people in grey. To take me away.

Have a Cuppa Tea Granny’s always ravin’ and rantin’ And she’s always puffin’ and pantin’, And she’s always screaming and shouting, And she’s always brewing up tea. 20 Grandpappy’s never late for his dinner, 5 Cos he loves his leg of beef And he washes it down with a brandy, C M And a fresh made cup of tea. C M 119.5MM Y B Y B Chorus: (4.71”) Have a cuppa tea, have a cuppa tea, have a cuppa tea, have a cuppa tea, Halleluja, halleluja, halleluja, Rosie Lea Halleluja, halleluja, halleluja Rosie Lea. If you feel a bit under the weather, If yo u feel a little bit peeved, Take granny’s stand-by potion For any old cough or wheeze. It’s a cure for hepatitis it’s a cure for chronic insomnia, It’s a cure for tonsilitis and for water on the knee. Chorus SAFETY TRIM BLEED Tea in the morning, tea in the evening, tea at supper time, You get tea when it’s raining, tea when it’s snowing. Tea when the weather’s fine, You get tea as a mid-day stimulant

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MUSWELL HILLBILLIES 19

And he got mixed up with a floosie I’m sitting twiddling my thumbs cos I got nothing to do, And she led him to a life of indecision. Minimal exercise, The floosie made him spend his dole To help uncomplicate my life, She left him lying on Skid Row Gotta stand and face it life is so complicated, A drunken lag in some Salvation Army Mission. Ladi dah di dahdah, ladi dah di dah dah, It’s such a shame. Got to get away from the complicated life son, Life is overated, life is complicated, Oh demon alcohol, Must aleviate this, complicated life. Sad memories I cannot recall, Who thought I would say, Like old Mother Hubbard Damn it all and blow it all, I got nothin’ in the cupboard, Oh demon alcohol, Got no dinner and I got no supper, Memories I cannot recall, Holes in my shoes I got holes in my socks, hol. Who thought I would fall a slave to demon alco I can’t go to work cos I can’t get a job, Barley wine pink gin, The bills are rising sky high, He’ll drink anything, It’s such a complicated life, Port, pernod or tequila, Gotta stand and face it, 6 Rum, scotch, vodka on the rocks, Life is so complicated. 19 As long as all his troubles disappeared. Here Come the People In Grey But he messed up his life and he beat up his wife, C M C M 119.5MM Y B And the floosie’s gone and found another sucker I got a letter this morning with serious news Y B She’s gonna turn him on to drink that’s gone and ruined my day, (4.71”) She’s gonna lead him to the brink The borough surveyor’s used compulsory purchase And when his money’s gone, to acquire my domaine, She’ll leave him in the gutter, They’re gonna pull up the floors, they’re gonna It’s such a shame. knock down the walls, They’re gonna dig up the drains. Oh demon alcohol, Sad memories I cannot recall, Here come the people in grey they’re gonna take Who thought I would fall, me away to Lord knows where, A slave to demon alcohol. But I’m so unprepared I got no time to pack and I got nothing to wear, Complicated Life Here come the people in grey, Well I woke this morning with a pain in my neck, To take me away. A pain in my heart and a pain in my chest, Me and my baby’s gonna get on a train that’s I went to the good doctor and the good doctor said, gonna take us away, SAFETY TRIM BLEED You gotta slow down your life or you’re gonna be dead, I’m gonna live in a tent, we’re gonna pay no more Cut out the struggle and strife, rent we’re gonna pay no more rates, It only complicates your life. We’re gonna live in a field, we’re gonna buy me gun, Well I cut down women I cut o ut booze, to keep the policemen away. I stopped ironing my shirts, cleaning my shoes, I’m gonna pass me a brand new resolution, I stopped going to work, reading the news, I’m gonna fight me a one man revolution, someway,

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18 THE KINKS MUSWELL HILLBILLIES 7

Don’t eat no mashed potatoes, Alcohol Rosie Rooke really existed. She was my mother’s best friend.” Old Rosie Rooke Don’t eat no buttered scones appears in ‘Lavender Lane’ a hitherto unreleased gem from the album sessions. Here is a story about a sinner, Stay away from carbohydrates From Ray’s opening four bar count double tracked guitars and the verse melody You’re gonna look like skin and bone. He used to be a winner who enjoyed a life of prominence and position, revisit the famous descant of ‘Waterloo Sunset’. Dave harmonises behind an Living on the edge of starvation But the pressures at the office and his socialite occasional Marc Bolan styled voice and Ray sings instead of ‘off’ they said ‘orf’ And she says she’s got no appetite engagements, instead of ‘yeah’ they said ‘ya’. It is wonderful and full sounding recording And her father and her mother And his selfish wife’s fanatical ambition, complete with brass accompaniment and uplifting musical changes. The song And her sisters and her brothers It turned him to the booze, ‘Rosie Rooke’ has been the subject of much folklore amongst Kinks fans. Yet Couldn’t see her when she walked by despite extensive searches in the depths of the Konk archive the mythical She looked like skin and bone. mastertape has remained undiscovered.

Don’t eat no mashed potatoes, Dave: “These songs are all characters in our family; aunts and uncles, people Don’t eat no buttered scones that have suffered oppression. We were reflecting back…how socially people’s Stay away from carbohydrates families were being dismantled.” He loved with his heart / He worked with his hands. You’re gonna look like skin and bone. John Gosling: “‘Uncle Son’ was a very personal song about Ray and Dave’s She used to be so cuddly, uncle.” The lyrical edge was party political, but Davies reminds the listener that 18 She used to be so fat, the ordinary man just needs simple rules and simple plans. The faces of his youth 7 But oh what a sin cos she’s oh so provided an entry point for Ray’s writing but significantly symbolised the thin ending of an era. By drawing upon his immediate surroundings and taking C M That she lost all the fr iends that commonplace images fermented within the neighbouring environment, the C M 119.5MM Y B Y B she had, record celebrated a knowing authenticity. (4.71”) She looks like skin and bone If you look flabby Where many of the songs on Muswell Hillbillies largely depicted a distressed And you feel overweight, daily existence ‘Oklahoma U.S.A’ presented a beautifully understated ode to And you wanna lose a couple of silver screen escapism. She walks to work but she’s still in a daze / She’s Rita stone, Hayworth or Doris Day / And Errol Flynn’s gonna take her away. It was an emotive Take a crash course diet do your fantasy, and poignantly a fitting tribute to the passing of Ray and Dave’s sister. daily exercises “Rene died whilst she was dancing to ‘Surrey With The Fringe On Top’ at the And you’ll look like skin and Lyceum Ballroom on my thirteenth birthday.” Ray wrote she’s walkin’ on the surrey bone. with the fringe on top, “Sometimes love songs are so tender and personal you don’t want people to hear them. That’s certainly the case with ‘Oklahoma USA’. It was Come on rattle them bones, written on a battered Spanish nylon string guitar. I barre the A chord then do Put your hands up to the quick movements keeping the root pedal. John did a beautiful piano part.”: ceiling, “That was just Ray, Dave and me. I overdubbed a harmonium, pumped by two Bend your hips and touch SAFETY TRIM BLEED your toes, foot pedals. It made so much noise wheezing and creaking that we nearly Do your daily exercises, abandoned the idea.” The touching ballad was a formidable achievement You’re gonna look like skin heading the following year’s ‘Celluloid Heroes’ All life we work but work is a bore and bone, / If life’s for livin’ then what’s livin’ for. Dave: “Me and Ray were brought up with an awful lot of genres and styles of music. It’s the foundation of whatever The Don’t eat no mashed Kinks became. You draw on all those ideas and funny licks. Even Doris Day potatoes, etc . records are in their somewhere.”

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MUSWELL HILLBILLIES 17

They’re watching my house and they’re tapping And the sea’s an open sewer, my telephone, But I really couldn’t care, I can’t trust nobody, but I’m much too scared to be I’m breathing through my mouth on my own so I don’t have to sniff the air, And the income tax collector’s got his beady eye Oh holiday, on me, Oh what a lovely day today, Oh there ain’t no cure for acute schizophrenia disease. I’m so glad they sent me away, No there ain’t no cure for To have a little holiday. Schizophrenia disease. Skin and Bone Holiday Fat Flabby Annie was incredibly big Holiday, She weighed just about sixteen stone Oh what a lovely day today, And then a fake dieti cian went and put her on a diet I’m so glad they sent me away, Now she looks like skin and bone. To have a little holiday today, holiday, Do the meditation and yoga H oliday, And she’s thrown away the good food guide 8 And I’m just standing on the end of a pier, And she’s given up the alcohol and pizzas 17 Hoping and dreaming you were here, And the pies and now she looks as if she’s ready to die, To share my little holiday, You can’t see her walk by. C M C M 119.5MM Y B Y B Lookin’ in the sky, for a gap in the clouds, (4.71”) Sometimes I think that sun ain’t never coming out, But I’d rather be here than in that dirty old town, I had to leave the city cos it broke me down, Oh holiday, oh what a lovely day today, I think I’ll get down on my little knees and pray, thank you Lord, Thank heaven for this holiday, holiday, I’m leaving insecurity behind me, The environmental pressures got me down, I don’t need no sedatives to pull me round, I don’t need no sleeping pills to help me sleep sound, Oh holiday,

Oh what a lovely day today, SAFETY TRIM BLEED I think I’ll get down on my knees and pray, That’s what I’ll do, Thank heaven for this holiday, Lying on the beach with my back burned rare, And the salt gets in my blisters and the sand gets in my hair,

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20th Century Man My mama says she can’t understand me Recording sessions for Muswell Hillbillies began in late She can’t see my motivation summer 1971 at Morgan Studios. John ‘Nobby’ Dalton: This is the age of machinery, Ain’t got no security, “Before going into the studio we’d go round Ray’s house. He’d A mechanical nightmare, I’m a twentieth century man but I don’t wanna be here. sit at the piano and run through the song and we’d just jot The wonderful world of technology, down the chords, or Dave might suggest playing something Napalm hydrogen bombs biological warfare, This is the twentieth century But too much aggravation together.” John: “As the writer Ray pretty much had the tracks This is the twentieth century, This is the edge of insanity finished in his head however hard we tried to interpret the But too much aggravation I’m a twentieth century man but I don’t wanna be here. ideas. He asked Mike Bobak, the engineer, to source some It’s the age of insanity, ancient BBC radio-announcer type microphones. They were What has become of the green pleasant fields Acute Schizophrenia Paranoia Blues the size of bricks. The sessions got longer and longer and Ray of Jerusalem. remixed and remixed until one morning we even found Mike I’m too terrified to walk out of my own front door, slumped over the desk exhausted.” With simple song Ain’t got no ambition, I’m just disillusioned They’re demonstrating outside I think they’re gonna I’m a twentieth century man but I don’t wanna be here. structures and a paucity of middle eights, songs flourished start the third world war, with sprinkled extras. “On ‘Complicated Life’ I tried to blend My mama sai d she can’t understand me I’ve been to my local head shrinker, the organ with Dave’s lovely slide guitar parts.” Mick Avory: She can’t see my motivation To help classify my disease, “We had Joe Brown’s wife on ‘Holloway Jail’ she was part of Just give me some security, He said it’s one of the cases of acute schizophrenia the singing group The Vernon Girls.” Ray: “We’d gone 16 I’m a paranoid schizoid product of the he sees. 9 twentieth century. through a phase of expanding through the Sixties. Muswell Well the milkman’s a spy, and the grocer keeps on Hillbillies was a return to what we thought we were as people.” C M You keep all your smart modern writers following me, C M 119.5MM Y B Y B Give me William Shakespeare And the woman next door’s an undercover for Much of the album utilises an easy twelve-bar blues (4.71”) You keep all your smart modern painters the K.G.B., turnaround. By contrast ‘Holiday’ benefits from a smoking I’ll take Rembrandt, Titian, Da Vinci And the man from the Social Security ragtime approach. John: “It was a musical postcard of the and Gainsborough, Keeps on invading my privacy, Great British holidaymaker on some rancid beach, Girl we gotta get out of here Oh there ain’t no cure for acute schizophrenia disease. determined to enjoy it. Ray had been on a much-needed We gotta find a solution I’ve got acute schi zophrenia paranoia too, holiday in Cornwall and sang it with a huge cigar in his I’m a twentieth century man but I don’t want Schizophrenia, schizophrenia, mouth. I wrestled with an accordion but couldn’t keep the air to die here. I’ve got it, you’ve got it, we can’t lose, going in so Ken Jones, our loyal ro ad manager, pumped the I was born in a welfare state Acute schizophrenia blues. bellows while I concentrated on the chord sequence. It’s end- Ruled by bureaucracy of the-Pier Kinks.” Similarly, a song about Ray and Dave’s I’m lost on the river, the river of no return, granny, ‘Have a Cuppa Tea’ complete with genteel piano fills, Controlled by civil servants I can’t make decisions, I don’t know which way is evocative of British Music Hall with the unbeatably joyous And people dressed in grey I’m gonna turn, refrain Hallelujah, Rosie Lea. Paul McCartney’s ‘English Tea’ Got no privacy got no liberty Even my old dad, lost some of the best friends he aside, and written some thirty-five years later, there has never Cos the twentieth century people ever had, SAFETY TRIM BLEED Took it all away from me. Apparently, his was a case of acute schizophrenia too. been a greater song about the wonders of brewing up. The Kinks freely indulged in unfashionable genres and freed from Don’t wanna get myself shot down I got acute schizophrenia paranoia too, the constraint of high profile pop existence the band explored By some trigger happy policeman, Schizophren ia, schizophrenia, music without reservation. Dixieland jazz charms ‘Alcohol’ Gotta keep a hold on my sanity I’ve got it, you’ve got it, we can’t lose, with images of prohibition and Thirties America in a I’m a twentieth century man but I don’t wanna Acute schizophrenia blues, melancholic cocktail. The songs tale of a sinner tainted by die here. demon booze and floosies is authentically enriched by the Mike

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“My parents came from inner Holloway, Islington. mine in the midst of al l the Troubles and they burned My mother was born in Barnsbury when it was a the English flag. It was a sign that there was an slum. People say, ‘How upper class’ now it’s become undercurrent.” The location was chosen for the front elevated to that level because Tony Blair lived there. cover of the record with the band seen propping up Muswell Hill was more affluent and harder to fit in. It the bar. A couple of locals look towards the camera, was a change of identity. We felt like we were reverting one or two in the direction of the band, whilst other back to our origins. It’s a play on the Beverly regulars are seen reading papers or relaxed with their Hillbillies.” Ray’s identification with the Sixties pints. There are no women. Dave: “You don’t see comedy was an inspired analogy of Rural Southerners people like that in Hornsey or north London who strike oil, pack their new found wealth on the anymore. They were all locals apart from our road back of a truck, and settle alongside Hollywood’s elite. manager.” The sleeve was presented as a gatefold with The record was an educating engagement with a an inside image depiction of backstreet homes proud display of roots in the face of aspirational social surrounded by corrugated iron fencing. The Kinks all mobility. Dave: “Whatever family you live in, we’re have shoulder length hair and are indifferently all trying to pretend we can cope. As kids, Ray and I dressed in jeans and Seventies casual wear. John witnessed the gaps and cracks in people’s lives; Gosling: “It was just the five of us having a beer 10 relationships going wrong; people just being together on our way to a de molition site up towards 15 depressed. We had our own language…like we did as Highgate Hill. I got hold of an old broom and kids. Ray was a withdrawn boy and I was out there uncovered the body of a dead cat outside a shop called C M amongst it all. Our humour connected us very Cats on Holiday. It’s such a striking contrast to the C M 119.5MM Y B Y B profoundly and galvanised a lot of the emotions that sartorial elegance of those ‘Carnabetian’ shots of The (4.71”) we found more difficult. We connected as family, Kinks in the Sixties.” Nobby: “That was my old white closer than we’d been since before The Kinks. What Rover 2000 in the background. We’d all driven there, was important about this record was that Nobbyd an except Ray, who didn’t drive in those days.” Baptist were starting to integrate well in the band. Mick had been there and knew the signs and Muswell Hillbillies ma rked a new beginning for The messages. It’s not like an actor for a film. It takes time Kinks. It was a search for individualism enabled by a to get to know people. They were more with our group uniting the roots of American music to ideas.” John Dalton had re-joined the band in 1969 contemporary English life. Dave: “In all great music after brief employment three years earlier and a whether it’s Beethoven, The Kinks or The Beatles Cotton Sound. Trumpet, trombone, clarinet and tuba Australia. Mick: “During ‘Alcohol’ Ray would balance jolting down to earth reality check, “After Face To there’s moments where you can tell they are so locked- canvas the musical terrain with traditional New a bottle of beer on his head. It was entertaining, part Face I’d gone from a Kink to a coalman.” John: in with each other emotionally. Ray and I worked in Orleans pizzazz. Dave: “I liked it on the record, but of the loose atmosphere.” Nobby: “How he did that I “Fitting in wasn’t that difficult. Nobby invited me odd ways, even from when we were at school playing going over in the stage thing…I wasn’t quite sure.” don’t know – just had a knack. He must have a flat over to his local. I went clubbing a lot with Mick. football. It’s a good analogy for music. When you Despite initial misgivings, the guitarist came to head or something.” John: ‘Alcohol’ became our Dave and I enjoyed the same tastes in music: Dylan, know the players, you know intuitively what to do.” SAFETY TRIM BLEED appreciate the expanded arrangements and the Mike theme song. The Americans even dubbed us The The Byrds, and Neil Young.” Cotton Sound trio would become a defining feature of Juicers.” On tour ever new avenues of amusement The Kinks live and recorded appeal. During 1971 the were presented to the audience and soon the front row “Archway Tavern is on an island – like being in band performed publicly in the UK for the first time would be filled by the likes of Andy Warhol and his England,” Ray explains, “Muswell Hillbillies was Daniel Rachel in three years. They toured America for the fifth time Factory entourage. The dramatic increasingly became inspired by that pub. My family used to go there. It London in eighteen months and managed two trips to a fundamental part of any Kinks live outing. was an Irish pub. I went there with a writer friend of Summer 2013

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Humour is ever present throughout Muswell Hillbillies disavowing any heavier content. Fat Flabby Annie was incredibly big / She weighed just about sixteen stone / And then a fake dietician went and put her on a diet / Now she looks like skin and bone. John: “‘Skin and Bone’ was a great chance to boogie. Bit of Fats Domino in there. We rehearsed that at Ray’s house and even tried with me playing bass alongside Nobby. Thankfully I reverted to the piano to double the riff. We recorded the Mike Cotton Sound in the studio lavvies; the echo in there was ideal.” The bop-trio further featured on ‘Acute 14 Schizophrenia Paranoia Blues’ which 11 tipped a hat to Eddie Cochran’s ain’t no cure for the summertime blues whilst C M paying ragtime homage to Champion C M 119.5MM Y B Y B Jack Dupree and Eddie Boyd. Tension (4.71”) is industriously heightened between the tragic too terrified to walk out of my own front door and the comic the milkman’s a spy and the grocer keeps on following me. Recalling the formative years of The Kinks, original bass player Pete Quaife informed Johnny Black, “We were trying to do Big Bill Broonzy style blues…not the upbeat pop of Eddie Cochran.” The Kinks had come full circle.

Across Muswell Hillbillies the spectrum

recordings. The project never materialised, but Muswell Hillbillies was a bold statement; thematic, SAFETY TRIM BLEED alongside the two previously unreleased recordings on focused and musically authentic. It addressed the of American musical tradition is re- this edition there is the opportunity to embrace forcible removable of the working-class from inner invented with a spirited Englishness: it ‘Mountain Woman’, driven by Dave’s distinctive and city London to the suburbs. Mick: “Urban was ad-hoc and playful and centred by a warm two chord electric guitar riff, and a demo regeneration sums it up. Knocking down old home-baked narrative. Dave: “There’s version of the delicately delivered ‘Kentucky Moon’. buildings and putting up boxes. Every other band was a lot of information and musical ideas doing something completely different. We never in this record. Ray was good at followed a trend. It was guided by Ray’s songs.” Ray: orchestrating and piecing all the

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elements together.” ‘Muswell Hillbillies’ is a fitting Over 45 minutes Muswell Hillbillies presents the backed with ‘Skin And Bone’ failed to chart at all. Ray tracks from the album are four songs withheld from close to the album’s multilateral musical engagement. listener with the paradoxes of contemporary living: “The songs didn’t belong to anyone except our fans. the original release. Together with the aforementioned “I like way that it’s in two places; picking country and smart modern writers and painters over Shakespeare and We were a success despite ourselves. I wanted to write ‘Lavender Lane’ is a second track ‘Nobody’s Fool’. back-beat in that rock ’n’ roll way. It’s trying to marry Di Vinci; people driven to alcohol; diet fads; songs that are not as light as they sound; subjects that The song was publicly first heard in April 1972 as the the style of the great American players. We were big schizophrenia; cinematic idols; and the mortality of were close to me that had an opening theme to the second series of the London fans.” The guitarist’s interplay revives memories of the working man. The rewards in the song cycle element of danger but also an Weekend Television programme Budgie, starring Fifties greats like Scotty Moore and Cliff Gallup as the are manifold and understandably there was element of love.” Adam Faith. When the track was issued as a single it song cantors from one key to a dynamic mid-song a reluctance to dismantle its overall w as credited to Cold Turkey and much rumoured to tone change. The verse responds accordingly They’re impact with individual releases. Ray Disc Two of this Deluxe feature Ray and Dave on vocals, yet this is not true. gonna try and make me change my way of living / But had made the decision to not write Edition offers some rare The demo is built around an understated acoustic they’ll never make me something that I’m not. “Ray was a songs for the Top Forty and it goes delights. Amongst the guitar and a piano riff reminiscent of The Kinks own genius with the lyrics,” John Gosling observed, some way to explaining the BBC Sessions and ‘Animal Farm’. ‘Nobody’s Fool’s’ plaintive melody “Brilliantly drawn comparisons.” Julien Temple: “His records absence from the alternate takes of and lyrical theme of loneliness and isolation would documentary approach to lyrics might seem to be a UK charts. It scrapped to a have been pertinent content for Dave who was distancing device, exploring other people’s lives lowly #100 on the US Billboard hospitalised in Los Angeles with depression in the rather than his o wn – but it’s therapy. The characters whilst the only single ‘20th year of the song’s writing. In the early part of 1971 Ray 12 function almost as friends, providing ways of Century Man’ openly discussed plans to record a solo album 13 analysing aspects of himself.” Ray: “Something of me variously titled The Ray Davies Songbook and, did end up in the songs. It’s Songs I Sang For Auntie. If concluded it would have C M inevitable: Less than you collected together compositions from past C M 119.5MM Y B Y B would imagine; more BBC commissions amongst newer (4.71”) than you would think.” SAFETY TRIM BLEED

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