Ray Davies’ favourite punk song
As the primary songwriter for the rebellious rock and roll outfit The Kinks, Ray Davies was always instilled with the spirit of revolution. Noted for their heavy use of distortion, achieved by slashing guitar amps with a razor blade, The Kinks were a heavy influence on the raw power of the punk rock scene. So it should come as no surprise that Davies had a certain appreciation for the trailblazing sounds of new wave punk.
Despite the reputation of punk rock for destroying all that came before it, starting a fresh musical slate built upon simple chord progressions and an emphasis on lyrics, the scene did take heavy inspiration from groups like The Kinks. Mick Jones of The Clash, for instance, has spoken at length about how ‘the big five’ of British bands, including The Kinks, inspired many kids of the punk generation to take up music.
Although The Kinks witnessed an abundance of mainstream popularity, their DIY techniques and amphetamine-filled rock and roll was not too dissimilar from the atmosphere created by punk rock. Capitalising on the resurrection of their early sound, Ray Davies and The Kinks temporarily moved away from their 1970s arena rock sound, adopting the mannerisms of punk. Particularly evident on the bizarre Christmas track ‘Father Christmas’, The Kinks’ flirts with punk rock are hardly highlights of their career, but Davies’ willingness to adapt to modern musical genres is endearing, to say the least.
Reportedly, Davies was introduced to the vibrant world of punk and new wave by New York punks Blondie. “They made the Parallel Lines in the same studio we were recording Low Budget in at the time,” Davies explained to WNYC. The groups forged something of a friendship as a result, endearing Davies towards the blossoming punk scene. “It was all around, it was part of a culture that was emerging, coming from CBGBs, which I found very energising and interesting.”
Blondie had emerged from the sweat-soaked walls of the East Side’s CBGB club, the epicentre of the city’s punk movement. With Debbie Harry and Chris Stein at the helm, the band soon transcended their grassroots beginnings to become pop giants of the new wave era. It was their 1978 album Parallel Lines which broke the band into the mainstream, seeing them achieve a number one album in the UK and a top ten in the US. The album marked a transitional period between the band’s DIY punk roots and the new wave pop that they would later become known for.
Among the tracks that harked back to their beginnings at CBGB was ‘Hanging on the Telephone’, which remains one of Blondie’s most popular tracks. Originally recorded by the West Coast power-pop trio of The Nerves, Blondie added their own sense of energy and power to the song. Something that did not go unnoticed by The Kinks’ Ray Davies, who lists the track not just as his favourite punk song but as one of his favourite songs to ever come out of the United States.
Davies’ appreciation for punk rock is a testament to his unpretentious love for modern music scenes. While many of his 1960s rock contemporaries viewed punk with a kind of arrogant sneer before continuing on with their bland and complacent arena rock, Davies immersed himself in the vibrancy and musical innovation of the scene.
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