The Kinks

Name	The Kinks
Img alt	Four smiling young men leaning over the back of a green park bench, a row of three-story-tall residential buildings behind them. The man on the left wears a brown sports jacket and white turtleneck; the man to his right wears a black-and-white-striped pullover shirt; the man to his right (standing straighter, just behind the other three) wears a black suit and tie; the man on the far right wears a black sports jacket and white shirt.
Background	group_or_band
Origin	London, England
Genre	Rock, pop
Years active	1964–1996
Label	Pye, Reprise, RCA, Arista, London, MCA, Sony, Koch, Konk/Guardian, Universal
Associated acts	Nicky Hopkins, The Mike Cotton Sound, Argent, The Creation, The Kast Off Kinks
Past members	Ray Davies Dave Davies Mick Avory Pete Quaife John Dalton John Gosling Andy Pyle Gordon John Edwards Jim Rodford Ian Gibbons Bob Henrit Mark Haley

The Kinks were an English rock band formed in Muswell Hill, North London, by brothers Ray and Dave Davies in 1964. Categorized in the United States as a British Invasion band, The Kinks are recognized as one of the most important and influential rock acts of the era. Their music was influenced by a wide range of genres, including rhythm and blues, British music hall, folk, and country. Ray Davies (lead vocals, rhythm guitar) and Dave Davies (lead guitar, vocals) remained members throughout the group's 32-year run. Original members Pete Quaife (bass guitar, vocals) and Mick Avory (drums and percussion) were replaced by John Dalton in 1969 and Bob Henrit in 1984, respectively. Dalton was in turn replaced by Jim Rodford in 1978. Keyboardist Nicky Hopkins accompanied the band during studio sessions in the mid-1960s. Later, various keyboardists, including John Gosling and Ian Gibbons, were full-time members. It became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States. Between the mid-1960s and early 1970s, the group released a string of commercially and critically successful singles and LPs, and gained a reputation for songs and concept albums reflecting English culture and lifestyle, fuelled by Ray Davies' observational writing style. The Kinks' subsequent theatrical concept albums met with less success, but the band experienced a revival during the late 1970s and early 1980s—groups such as Van Halen, The Jam, The Knack, and The Pretenders covered their songs, helping to boost The Kinks' record sales. In the 1990s, Britpop acts such as Blur and Oasis cited the band as a major influence.

The Kinks had five Top 10 singles on the US Billboard chart. Nine of their albums charted in the Top 40. Four of their albums have been certified gold by the RIAA. Among numerous honours, they received the Ivor Novello Award for "Outstanding Service to British Music". In 1990, their first year of eligibility, the four original members of the band were inducted into the Rock & Roll Hall of Fame.

History

Formation (1962–1963)

The Davies brothers were born in suburban North London on Huntingdon Road, East Finchley, the youngest and only boys among their family's eight children. Their parents, Frederick and Annie Davies, soon moved the family to 6 Denmark Terrace, Fortis Green Road, in the neighbouring suburb of Muswell Hill. At home they were immersed in a world of varied musical styles, from the music hall of their parents' generation to the jazz and early rock and roll that their older sisters enjoyed. Both Ray and his brother Dave, younger by almost three years, learned to play guitar, and they played skiffle and rock and roll together. another student at William Grimshaw, who performed with the group at least once in early 1962. He soon formed his own group, Rod Stewart and the Moonrakers, which became a local rival to the Ray Davies Quartet. Davies soon quit school and returned to Muswell Hill, where the brothers and Quaife re-formed their old group,

The fledgling group hired two managers, Grenville Collins and Robert Wace, and in late 1963 former pop singer Larry Page signed on as their third. American record producer Shel Talmy began working with the band, and The Beatles' promoter, Arthur Howes, was retained to schedule The Ravens' live shows. The group unsuccessfully auditioned for various record labels until early 1964, when Talmy secured them a contract with Pye Records. During this period they had acquired a new drummer, Mickey Willet; however, Willet left the band shortly before they signed to Pye. Avory had a background in jazz drumming, and had played one gig with the fledgling Rolling Stones. Manager Robert Wace related his side of the story: "I had a friend. ... He thought the group was rather fun. If my memory is correct, he came up with the name just as an idea, as a good way of getting publicity. ... When we went to [the band members] with the name, they were ... absolutely horrified. They said, 'We're not going to be called kinky! Pye Records threatened to annul the group's contract unless their third single was successful.

"You Really Got Me" was released in August 1964, and, boosted by a performance on the television show Ready Steady Go!, quickly reached number one in the United Kingdom. Hastily imported by the American label Reprise Records, it also made the Top 10 in the United States. Extremely influential on the American garage rock scene, "You Really Got Me" has been described as "a blueprint song in the hard rock and heavy metal arsenal". The group's fourth single, "All Day and All of the Night", another original hard rock tune, was released three weeks later, reaching number two in the United Kingdom, An intensive performing schedule saw them headline other package tours throughout the year with acts such as The Yardbirds and Mickey Finn. Tensions began to emerge within the band, expressed in incidents such as the on-stage fight between Avory and Dave Davies at The Capitol Theatre, Cardiff, Wales on 19 May. To placate the police, Avory later claimed that it was part of a new act in which the band members would hurl their instruments at each other. Although neither The Kinks nor the union gave a specific reason for the ban, at the time it was widely attributed to their rowdy on-stage behaviour. This was an early example of crossover music and one of the first pop songs of the period to display the direct influence of traditional music from the Indian subcontinent. In a widely quoted Recording began promptly on the group's next project, Kinda Kinks, starting the day after their return from the Asian tour. The LP—10 of whose 12 songs were originals—was completed and released within two weeks. According to Ray Davies, the band was not completely satisfied with the final cuts, These recordings exemplified the development of Davies' songwriting style, from hard-driving rock numbers toward songs rich in social commentary, observation, and idiosyncratic character study, all with a uniquely English flavour. Before the release of The Kink Kontroversy, Ray Davies suffered a nervous and physical breakdown, caused by the pressures of touring, writing, and ongoing legal squabbles. During his months of recuperation, he wrote several new songs and pondered the band's direction. though it reached only number 73 in the United States.

The Golden Age (1967–1972)

{{ listen | filename = Kinks - Waterloo Sunset.ogg | title = "Waterloo Sunset" | description = "Waterloo Sunset" (1967), one of The Kinks' most famous songs, was recorded very quickly. Backing vocals by Dave Davies, Pete Quaife, and Ray's wife, Rasa, were laid down first, followed by Ray's lead vocal track. Ray Davies denied this in his autobiography, and claimed in a 2008 interview, "It was a fantasy about my sister going off with her boyfriend to a new world and they were going to emigrate and go to another country." Despite its complex arrangement, the sessions for "Waterloo Sunset" lasted a mere ten hours; Dave Davies later commented on the recording: "We spent a lot of time trying to get a different guitar sound, to get a more unique feel for the record. In the end we used a tape-delay echo, but it sounded new because nobody had done it since the 1950s. I remember Steve Marriott of the Small Faces came up and asked me how we'd got that sound. We were almost trendy for a while." The single was one of the group's biggest UK successes, reaching number two on Melody Maker's chart, and went on to become one of their most popular and best-known. Pop music journalist Robert Christgau called it "the most beautiful song in the English language", and Allmusic senior editor Stephen Thomas Erlewine cited it as "possibly the most beautiful song of the rock and roll era."

The songs on the 1967 album Something Else By The Kinks developed the musical progressions of Face to Face, adding English music hall influences to the band's sound. Dave Davies scored a major UK chart success with the album's "Death of a Clown". While it was co-written by Ray Davies and recorded by The Kinks, it was also released as a Dave Davies solo single. Nick Jones of Melody Maker asked, "Is it time that Ray stopped writing about gray suburbanites going about their fairly unemotional daily business? ... Ray works to a formula, not a feeling, and it's becoming rather boring." Dave's second solo single, "Susannah's Still Alive", was released in the UK on November 24. It sold a modest 59,000 copies, but failed to reach the Top 10. Miller states that "by the end of the year, The Kinks were rapidly sliding out of fashion." The Kinks' next single, "Wonderboy", released in the spring of 1968, stalled at number 36 and became the band's first single not to make the UK Top Twenty since their early covers. Despite this, it became a favourite of John Lennon of The Beatles. According to Ray Davies, "Someone had seen John Lennon in a club and he kept on asking the disc jockey to play 'Wonder Boy' over and over again". However, the band's own opinion of the track was low—Pete Quaife later stated, "[I] hated it ... it was horrible." commented Andy Miller. The tour proved taxing and stressful—Pete Quaife recalled, "It was a chore, very dull, boring and straightforward. ... We only did twenty minutes, but it used to drive me absolutely frantic, standing on stage and playing three notes over and over again." "Days" reached number 12 in the United Kingdom and was a Top 20 hit in several other countries, but it did not chart in the United States.

Village Green eventually morphed into their next album, The Kinks Are the Village Green Preservation Society, released in late 1968 in the UK. A collection of thematic vignettes of English town and hamlet life, it was assembled from songs written and recorded over the previous two years. It was greeted with almost unanimously positive reviews from both UK and US rock critics, yet failed to sell strongly. One factor in the album's initial commercial failure was the lack of a popular single. It did not include the moderately successful "Days"; "Starstruck" was released in North America and continental Europe, but was unsuccessful. Though a commercial disappointment, Village Green (the project's original name was adopted as shorthand for the long album title) was embraced by the new underground rock press when it came out in January 1969 in the United States, where The Kinks began to acquire a reputation as a cult band. In The Village Voice, a newly hired Robert Christgau called it "the best album of the year so far". The album remains popular; in 2004, it was re-released in a 3-CD "Deluxe" edition and one of its tracks, "Picture Book", was featured in a popular Hewlett-Packard television commercial, helping to boost the album's popularity considerably.

In early 1969, Quaife told the band he was leaving. The other members did not take his statement seriously, until an article appeared in New Musical Express on 4 April featuring Quaife's new band, Maple Oak, which he had formed without telling the rest of The Kinks. Ray Davies pleaded with him to return for the sessions for their upcoming album, but Quaife refused. Davies immediately called up John Dalton, who had filled in for Quaife in the past, as a replacement. Dalton remained with the group until 1977, when the album Sleepwalker was released. The group's management quickly made plans for a North American tour, to help restore their standing in the US pop music scene. Before their return to the United States, The Kinks recorded another album, Arthur (Or the Decline and Fall of the British Empire). As with the previous two albums, Arthur was grounded in characteristically English lyrical and musical hooks. The Kinks embarked on their tour of the US in October 1969. {{ listen | filename = Kinks Lola 1970.ogg | title = "Lola" | description = Ray Davies created the "clang" at the beginning of "Lola" (1970) by combining the sounds of a Dobro and a Martin guitar. }}

The band added keyboardist John Gosling to their line-up in early 1970. The lyrics originally contained the word "Coca-Cola", and as a result the BBC refused to broadcast the song, considering it to be in violation of their policy against product placement. Part of the song was hastily re-recorded by Ray Davies, with the offending line changed to the generic "cherry cola", although in concert, The Kinks still used "Coca-Cola". After the success of "Lola", the band went on to release Percy in 1971, a soundtrack album to a film of the same name about a penis transplant. The album, which consisted largely of instrumentals, did not receive positive reviews. Their debut for RCA, Muswell Hillbillies, was replete with the influence of music hall and traditional American musical styles, including country and bluegrass. It is often hailed as their last great record, though it was not as successful as its predecessors. The record featured the ballad "Celluloid Heroes" and the Caribbean-themed "Supersonic Rocket Ship", their last UK Top 20 hit for more than a decade. The album was moderately successful in the United States, peaking at number 47 in Record World and number 70 in Billboard.]] In 1973, Ray Davies dived headlong into the theatrical style, beginning with the rock opera Preservation, a sprawling chronicle of social revolution, and a more ambitious outgrowth of the earlier Village Green Preservation Society ethos. Davies went into a state of depression, culminating in a public outburst during a July gig at White City Stadium. According to a Melody Maker review of the concert, "Davies swore on stage. He stood at The White City and swore that he was 'F...... sick of the whole thing'. ... He was 'Sick up to here with it' ... and those that heard shook their heads." At the show's conclusion, as pretaped music played on the sound system, he declared that he was quitting. Ray subsequently collapsed after a drug overdose and was rushed to hospital. Dave later commented in an interview about the incident:

God, that was horrible. That was when Ray tried to top himself. I thought he looked a bit weird after the show—I didn't know that he'd taken a whole bloody bottle of weird-looking psychiatric pills. It was a bad time. Ray suddenly announced that he was going to end it all—it was around that time that his first wife left him. ... She'd left him and taken the kids on his birthday, just to twist the blade in a little more. ... I think he took the pills before the show. I said to him towards the end that he was getting a bit crazy. I didn't know what happened—I suddenly got a phone call saying he was in the hospital. I remember going to the hospital after they'd pumped his stomach and it was bad. {{ listen | filename = Kinks Mirror Of Love.ogg | title = "Mirror Of Love" | description = "Mirror Of Love" (1974), incorporating aspects of dixieland and New Orleans jazz, is typical of The Kinks' theatrical period, with Ray Davies singing in character. The UK single version, also released on Preservation: Act 2, is a remixed demo recording, featuring Ray Davies on guitar, piano, and drums, Dave Davies on mandolin, and the band's regular horn section. }} Preservation Act 1 was released in late 1973 to generally poor reviews, and its sequel, Preservation Act 2, appeared in May 1974 to a similar reception. It was the first album recorded at Konk Studio; from this point forward, virtually every Kinks studio recording was produced by Ray Davies at Konk. The Kinks embarked on an ambitious US tour throughout late 1974, adapting the Preservation story for stage. Musicologist Eric Weisbard: "[Ray] Davies expanded the Kinks into a road troupe of perhaps a dozen costumed actors, singers, and horn players. ... Smoother and tighter than on record, Preservation live proved funnier as well."

Davies soon began another project for Granada Television, a musical called Starmaker. After a broadcast with Ray Davies in the starring role and The Kinks as both back-up band and ancillary characters, the project eventually morphed into the concept album The Kinks Present a Soap Opera, released in May 1975, in which Ray Davies fantasized about what would happen if a rock star traded places with a "normal Norman" and took a 9–5 job. In August 1975, The Kinks recorded their final theatrical work, Schoolboys in Disgrace, a backstory biography of Preservation's Mr. Flash. The record was a modest success, peaking at number 45 on the Billboard charts.

Return to commercial success (1977–1985)

John Dalton left the band before finishing the sessions for the debut Arista album. Andy Pyle was brought in to complete the sessions and to play on the subsequent tour. Soon after its release and the recording of its followup, Misfits, Andy Pyle and keyboardist John Gosling left the group to work together on a separate project. Dalton returned to complete the tour and ex–Pretty Things keyboardist Gordon John Edwards joined the band. {{ listen | filename = Kinks Come Dancing.ogg | title = "Come Dancing" | description = "Come Dancing" (1982), The Kinks' last major hit single, incorporated nostalgic music hall and big band styles. The song reached number six in the US and number 12 in the UK. }} The next Kinks album, Give the People What They Want, was released in late 1981 and reached number 15 in the US. The record attained gold status and featured the UK hit single "Better Things" as well as "Destroyer", a major Mainstream Rock hit for the group. The tour culminated with a performance at the US Festival in San Bernardino, California, for a crowd of 205,000. In spring 1983, the song "Come Dancing" became their biggest American hit since "Tired of Waiting for You", peaking at number six. The accompanying album, State of Confusion, was another commercial success, reaching number 12 in the US, but, like all of the group's albums since 1967, it failed to chart in the UK. Another single released from the record, "Don't Forget to Dance", became a US top 30 hit, and minor UK chart entry. During the second half of 1983, Ray Davies started work on an ambitious solo film project, Return to Waterloo, about a London commuter who daydreams that he is a serial murderer. The film gave actor Tim Roth a significant early role. Another problem was the stormy end of the relationship between Ray Davies and Chrissie Hynde. The old feud between Dave Davies and drummer Mick Avory also re-ignited. Davies eventually refused to work with Avory, Many of the songs also appeared as solo recordings on Ray Davies' Return to Waterloo soundtrack album. The Kinks: The Official Biography, by Jon Savage, drew on extensive interviews with members of the band. Ray Davies had even helped Savage and his agent set up the book deal. However, shortly before the publication date, he tried three times to halt its release. The Observer reported that "first was an objection to the text, even though the singer had approved it earlier. ... Then there came a threatened injunction ... because of objections to some of the photographs. Then there was a curious demand [for a] £50,000 permission fee for quoting some lyrics."

Decline in popularity and split (1986–1996)

In early 1986, the group signed with MCA Records in the United States and London Records in the UK. Songs like the ballad "Lost and Found" and "Working at the Factory" concerned blue-collar life on an assembly line, while the title track was an attack on the very MTV video culture from which the band had profited earlier in the decade. The Kinks followed Think Visual in 1987 with another live album, The Road, which was a mediocre commercial and critical performer.

In 1990, their first year of eligibility, The Kinks were inducted into the Rock & Roll Hall of Fame. Following Mark Haley's departure after the band's sellout performance at the Royal Albert Hall, London, Gibbons rejoined The Kinks for a US tour. Two years later the band released a new, improved, live double CD set in the USA, which retained the same name and contained two new studio tracks, "Animal" and "To The Bone". The CD set also featured new treatments of many old Kinks hits. Despite such accolades, the group's commercial viability continued to decline. The Kinks gave their last public performance in mid-1996, and the group assembled for what would turn out to be their last time together at a party for Dave's 50th birthday. Kinks chronicler and historian Doug Hinman stated, "The symbolism of the event was impossible to overlook. The party was held at the site of the brothers' very first musical endeavour, the Clissold Arms pub, across the street from their childhood home on Fortis Green in North London."

Solo work and potential reunion (1997–present)

The band members subsequently focused on solo projects, and Ray and Dave released their own studio albums.

Ray Davies came out with the solo album Storyteller, a companion piece to X-Ray, in 1998. Originally written two years earlier as a cabaret-style show, it celebrated his old band and his estranged brother. Dave Davies spoke favourably of a Kinks reunion in early 2003, and as the 40th anniversary of the group's breakthrough neared, both of the Davies brothers expressed interest in working together again. However, hopes for a reunion were eliminated when in June 2004 Dave suffered a stroke while exiting an elevator, temporarily impairing his ability to speak and play guitar. Following Dave's recovery, The Kinks were inducted into the UK Music Hall of Fame in November 2005, with all four of the original band members in attendance. The award was presented by The Who's guitarist and songwriter Pete Townshend, a longtime Kinks fan and friend of Ray Davies. The induction helped fuel sales for the group; in August 2007, a re-entry of The Ultimate Collection, a compilation of material spanning the band's career, reached number 32 on the UK Top 100 album chart and number one on the UK Indie album chart.

In December 2007, Record Collector published an interview with Ray Davies in which he said, "I spoke to Quaife about a month ago and he dearly wants to make another record with me. I think Dave's getting better and Mick's still playing. It would be great to get back together just to see what musical ideas we had, and what would happen." The Daily Mail subsequently interpreted his comments as a declaration that a reunion of the band's original lineup was imminent. Dave Davies swiftly rejected the idea of a reunion. He told a reporter that "it would be like a bad remake of Night of the Living Dead" and added, "Ray has been doing Karaoke Kinks shows since 1996."

In a September 2008 interview with BBC Radio 4, Ray Davies said of a possible reunion, "There is a desire to do it", but that he wouldn't participate if it were a nostalgia act: "The thing that would make me decide 'yes' or 'no' would be whether or not we could do new songs". He added that the main barrier to the band getting back together was his brother's condition following his stroke. Two months later, he told the BBC that the band was beginning to write new material for a possible reunion, but failed to detail which members were involved. In an interview aired that December on the Biography Channel, Quaife rejected any possibility that he would take part in a reunion. That same month, Ray Davies spoke again about the possibility of performing with his brother: "I suggested he do some low-key shows to see how well he can play. If we're going to play together again, we can't hit the road straight away with a big-time announcement. ... But, if Dave feels good about it and there's good new material that we can write, it'll happen."

In June 2009, Ray Davies told The Independent that while a full-fledged reunion was unlikely, "I will continue to play with ex-band members like Mick Avory from time to time. With Dave, a lot of it is psychological. I’ll guide him in, and coerce and nurture him, and when the time is right I suppose I’ll even shout at him again." When asked about a possible reunion in an interview that year, Avory stated, "A reunion would not be possible with the originals, for a start due to ill health. But it would be possible with the Kast Off Kinks plus Ray. In any event Ray would record new material. We have some old tracks from the 80s as well." In March 2010, Avory reported that the band were planning on releasing an album of unreleased and new material. He stated that they had "eight tracks" ready for the album, but that the Davies brothers had to settle their differences before the project could progress. It remains unclear who has been involved in the recordings besides Avory and Ray Davies.

Quaife, who had been receiving kidney dialysis for more than ten years, died on 23 June 2010, aged 66. Ray Davies dedicated his 27 June performance at the Glastonbury Festival to Quaife and performed several Quaife-era Kinks songs in tribute to him. Davies told the crowd, "I wouldn't be here today if it wasn't for him."

Legacy

The Kinks are recognized as one of the most important and influential rock acts of the 1960s. The Clash, and The Jam, New Wave and heavy metal acts like The Pretenders and Van Halen, and Britpop groups such as Oasis, Blur, and Pulp. Jon Savage wrote that The Kinks were an influence on late-1960s American psychedelic groups, "like the Doors, Love and Jefferson Airplane". The group would not receive another gold record award until 1979's Low Budget; the 1980 live album One For The Road followed soon after, and was certified gold on 8 December 1980. Give The People What They Want, released in 1981, received its certification on 25 January 1982, for sales of 500,000 copies. ASCAP, the performing-rights group, presented The Kinks with an award for "One Of The Most Played Songs Of 1983" for the hit single "Come Dancing". Dave Davies became bored with the traditonal "clean" guitar style of the period; in search of a louder, more biting sound, he famously split the speaker cone of his Elpico amplifier (nicknamed "the little green amp"): "I started to get really frustrated [with the amp's sound], and I said, 'I know! I'll fix you!' I got a single-sided Gillette razorblade and cut ... [from the centre to the edge of the] cone ... so it was all shredded but still on there, still intact. I played and I thought it was amazing." The jagged sound of the amplifier was replicated in the studio; the Elpico was plugged into a larger Vox AC30, and the resulting effect became a mainstay in The Kinks' early recordings—most notably on "You Really Got Me" and "All Day and All of the Night". The Kinks' allegiance to English styles was strengthened by the ban placed on them by the American Federation of Musicians. The ban cut them off from the American record buying public, the world's largest musical market, Ray Davies is known to have kept a diary, but he has yet to allow public scrutiny of it.

Personnel

{| border="0" align="center" width="100%" |- bgcolor="#e6e9ff" align="center" ! width="15%"|Musician !! width="25%"|Dates Active !! Role |- | Ray Davies || Feb 1964–1996 || lead vocals, rhythm guitar, harmonica, keyboards, lead songwriting |- | colspan="3" style="background: #e6e9ff;"| |- | Dave Davies || Feb 1964–1996 || lead guitar, harmony vocals, occasional lead vocals and songwriting |- | colspan="3" style="background: #e6e9ff;"| |- | Mick Avory || Feb 1964–1984 || drums and percussion |- | colspan="3" style="background: #e6e9ff;"| |- | Pete Quaife || Feb 1964 – June 1966, Nov 1966 – Mar 1969 || bass guitar, backup vocals |- | colspan="3" style="background: #e6e9ff;"| |- | Nicky Hopkins || 1965–1968|| keyboards (session) |- | colspan="3" style="background: #e6e9ff;"| |- | John Dalton || June–Nov 1966, Apr 1969–1976, 1978 || bass guitar, backup vocals |- | colspan="3" style="background: #e6e9ff;"| |- | John Gosling || 1970–1978 || keyboards |- | colspan="3" style="background: #e6e9ff;"| |- | Andy Pyle || 1976–1978 || bass guitar |- | colspan="3" style="background: #e6e9ff;"| |- | Gordon John Edwards|| 1978 || keyboards, backup vocals |- | colspan="3" style="background: #e6e9ff;"| |- | Jim Rodford || 1978–1996 || bass guitar, backup vocals |- | colspan="3" style="background: #e6e9ff;"| |- | Ian Gibbons || 1979–1989, 1993–1996 || keyboards, backup vocals |- | colspan="3" style="background: #e6e9ff;"| |- | Bob Henrit || 1984–1996 || drums and percussion |- | colspan="3" style="background: #e6e9ff;"| |- | Mark Haley || 1989–1993 || keyboards, backup vocals |- | colspan="3" style="background: #e6e9ff;"| |- |}

Discography

;Studio albums

See also

1964 in music

British invasion

British rock

Carnaby Street

1996 in music

Notes

References

External links

Official Ray Davies Web Site

Official Dave Davies Web Site

Category:The Kinks Category:1960s music groups Category:1970s music groups Category:1980s music groups Category:1990s music groups Category:Pye Records artists Category:Arista Records artists Category:Beat groups Category:British Invasion artists Category:English rock music groups Category:Garage rock groups Category:Musical groups from London Category:Musical groups established in 1963 Category:Pre-punk groups Category:Rock and Roll Hall of Fame inductees