Ray Davies Turns A Choir On The Kinks

While many of their UK contemporaries—particularly those rallied behind the banner of the British Invasion in the ‘60s—did all they could do to sound like artists of American blues and early rock ‘n’ roll, the Kinks underscored a disposition that was deliberately English. As the band’s lyricist, Ray Davies examined class distinctions and moralities within British society, eliciting tales of the downtrodden as well as those whose lives were far more refined.

And so it’s not too much of a stretch to conceive how such themes could have inspired and ultimately manifested in Davies’ latest work, The Kinks Choral Collection, released this week on Decca Records. The album finds Davies collaborating with the Crouch End Festival Chorus—a renowned vocal choir from North London—interpreting a cycle of classic Kinks songs (and one solo cut) with grandeur and grace.

While an integral part of the album, the choir isn’t as ostentatious as the title might suggest or even as some listeners might fear. Davies suitably holds the vocal reins here—the choir isn't singing his songs with him relegated to the sideline—while the vocalists complement in harmony around him.

Rising like a solemn invocation, "Days" commences the recording with delicate resonance while "See My Friends" finds Davies and the choir engaging in an acapella call and response, effectively turning it into a chant. The sacred nature of these performances only succeeds because the songs evoke it (to various extents) in their original versions. Davies isn't manufacturing the spiritual vibe that's yielded by this kind of interpretation; with the service of the choir, he's drawing it out. The rendition here of "Waterloo Sunset" is perhaps the best instance of that.

As for the otherwise edgier tracks—“You Really Got Me” and “All Day and All of the Night,” specifically—Davies prevents them from coming off as parodies because, instead of treating them with the sort of reverence he affords to the more austere moments on the album, he gives in to their exuberance and has a good time.

Worth a special mention is a six-song suite culled from the Kinks' masterwork, We Are The Village Green Preservation Society, which is a highlight unto itself, but an ever-playful take on "Picture Book" and the title track stand out in particular. Granted, The Kinks Choral Collection isn’t for everyone—it's likely not even for all professed Kinks fans—but for those who approach this with an open mind, it’s an impressive effort overall.

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Ray Davies Works Out The Kinks In Concert

Ray Davies (Photo by Donald Gibson)

Ray Davies may very well be the Kinks’ biggest fan. Who could blame him, really, considering the catalog he gets to choose from in concert. That its songs derive from his pen doesn’t seem to humble the man in the slightest; to the contrary, such only adds to his pride in playing them.

The audience inside the Tampa Theatre on Friday, November 28 was equally as thrilled in witnessing the British music legend perform a generous portion of the Kinks songbook as well as select solo efforts.

Accompanied by guitarist Bill Shanley, Davies worked through the mostly acoustic set while seated, for the most part, at a barstool. What the music lacked in volume, though, it made up for with integrity, the modest approach underscoring the depth and craft of his creations.

Opening with three Kinks rockers — “I Need You,” “Where Have All The Good Times Gone?” and “Till The End Of The Day” — Davies hit his stride straight off, his organic renditions coursing forth with rigor and sway. He often summoned the audience to sing along — he needn’t have asked — as on “Sunny Afternoon” and “Dedicated Follower Of Fashion,” the latter introduced as “an old English folksong.” As well, “I’m Not Like Everybody Else” inspired a rousing chorus, ironically one laced with sneering dissidence.

Formalities cast aside — the no-flash camera rule and a subdued audience among them — Davies gamely honored requests for “Alcohol” and “Low Budget,” seemingly as happy to hear them as anyone else.

The casual camaraderie extended to when he offered up a sampling of his solo work, including “The Tourist” — its love/hate sentiment embraced by the native Floridians in attendance — and “Working Man’s Café,” which Davies prefaced with a warm recollection of meeting up with his brother Dave for lunch. After a classic double shot of “Tired Of Waiting For You” and “Set Me Free,” he as well dedicated “All Day And All Of The Night” to his brother to close the main set.

Opening band Locksley provided a fantastic complement to the main performance, unleashing an arsenal of electric guitars and catchy pop melodies. In songs like “Don’t Make Me Wait” and “Why Can’t I Be You,” the Brooklyn-based quartet — fronted, incidentally, by brothers, Jesse and Jordan Laz — demonstrated some serious chops as well as the headliner’s enduring influence.

Such made for a celebratory, rambunctious grand finale when, at the end of the night, Ray Davies and Locksley shared the stage, charging through “You Really Got Me” in a garage-rock maelstrom. Concluding with “Victoria” and “Lola,” the musicians looked overjoyed, none moreso than the well respected man at the center of all this sound and fury.

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