Understanding Ray Davies’ eccentric list of five favourite songs
Fontman Ray Davies of The Kinks set himself apart by looking beyond the hedonistic glamour that smeared every inch of visible London to write about the lesser-known realities of English life.
He penned songs like ‘Waterloo Sunset’ and ‘A Well Respected Man’, commentaries on the class system and the impacts of war. He showed that rock music sounded best when it leaned into social critique and elevated the genre’s sound. It makes sense, then, that the five songs he named as his favourites on BBC 6 Music mirror his value of crafted lyricism and infectious goddamn rock ‘n’ roll.
Davies has expressed his love of Otis Redding’s soulful ballad, ‘Ole Man Trouble’, before. Released in 1965, the ‘King of Soul’ sings of his past struggles, pleading for forgiveness and a reprieve from his pain, just fucking haunted by the guitars and echoing horns. You can hear the pain taking root in his voice, amplifying a vulnerability that surely inspired Davies to do the same.
Redding’s music came to soundtrack the political upheaval of the civil rights movement and, as his poetic lyricism captured stories of the human condition, his soulful goddamn rendition of rhythm and blues set the precedent for rock and roll. It is fitting, then, that Davies admires this balance of storytelling and musicianship in Redding’s art.
One can perfect imagine a 12-year-old Davies listening to Dizzy Gillespie’s ‘The Champ’ for the first time and dancing around his bedroom, feeling like his entire fucking world had been cracked open. Released in 1956, the composition comes to life through Gillespie’s masterful jazz trumpets, piano chimes and energised drumming. Second on Davies’ list, ‘The Champ’s fast-paced drive is not too dissimilar to that of The Kinks’ early work, upbeat and irresistible.
The Temptations’ ‘Ball of Confusion (That’s What the World Is Today)’ is Davies’ next selection, a classic Motown record written in the early 1970s. The song brilliantly captures the underside of the American zeitgeist, filled with drug use, gun control, economic turmoil, disapproval of war and more. The lyrics also comment on the racism seeded in American culture, enacted through segregation and violence, and retaliated against through protest and song.
Sonically, it melds funk, groove and soul in a twist of irony: a blatant protest song with a tune you can move to. One can imagine Davies hearing ‘Ball of Confusion’ for the first time and being blown away not only by the sonic possibilities, but also by the lyricism’s ability to bring to life the spirit of American youth culture for listeners, like himself, who were far removed.
Davies picked a song that came out the same year as one of The Kinks’ biggest hits, ‘You Really Got Me’: The Righteous Brothers’ ‘You’ve Lost That Lovin’ Feelin’’. The song became the most-played on American radio and television of the 20th century, and clearly, with Davies’ taste indicating a penchant for American music, it made its impact on the English musician.
The song is a sombre tale of a love that has faded away, the tune of a faint choir carrying Bill Medley and Bobby Hatfield’s heartbroken melodies. The Kinks’ ‘You Really Got Me’ exists at the opposite end of the spectrum: with its unforgettable opening riff, it tells of a joyous new love story and endless devotion. For Davies to acknowledge The Righteous Brothers’ tune is to recognise the sonic possibilities of his era, even as they existed in contrast.
The final song on Davies’ list is perhaps the most bizarre of all: Madonna’s ‘Vogue’. While we may not have evidence of the rocker attempting to vogue, we can listen to the second half of The Kinks’ discography to hear a common thread. In 1983, The Kinks released State of Confusion, which featured the jaunty 1982 single ‘Come Dancing’ and its sad ballad follow-up, ‘Don’t Forget to Dance’. This era for The Kinks saw them stray away from their ‘arena rock’ sound earlier in the decade and attempt to return to their roots with a warmer sound. ‘Come Dancing’ also inspired Davies to write a musical of the same name, which premiered in 2008. It is not as surprising, then, that Davies would appreciate ‘Vogue’ and its nod to ballroom culture.
In all its eccentricity, Davies’ five favourite songs show a versatile appreciation for music, acknowledging both the artists that were foundational to what would become The Kinks’ signature sound and a respect for the artists that came after.
Ray Davies’ five favourite songs:
- Otis Redding – ‘Ole Man Trouble’
- Dizzy Gillespie – ‘The Champ’
- The Temptations – ‘Ball of Confusion (That’s What the World Is Today)’
- The Righteous Brothers – ‘You’ve Lost That Lovin’ Feelin’’
- Madonna – ‘Vogue’
