Kwyet Kinks is the third EP by the English rock band the Kinks. It was released on 17 September 1965 in the United Kingdom by Pye Records. Driven by the inclusion of the song "A Well Respected Man", Kwyet Kinks topped sales charts in Britain for several weeks. In the United States, which had no corresponding market for EPs, Reprise Records instead used its songs as the basis for the November 1965 LP Kinkdom.
| Kwyet Kinks | ||||
|---|---|---|---|---|
 | ||||
| EP by | ||||
| Released | 17 September 1965 | |||
| Recorded | 3 May and c. 5 August 1965 | |||
| Studio | Pye, London | |||
| Genre | Folk rock | |||
| Length | 9:48 | |||
| Label | Pye | |||
| Producer | Shel Talmy | |||
| The Kinks EP chronology | ||||
| ||||
With its mostly acoustic sound, Kwyet Kinks represented a departure from the heavier rock for which the Kinks had become known, a change reflected in the title with its play on the word "quiet". Contemporary and retrospective coverage of the EP has typically focused on "A Well Respected Man", which marked a shift in bandleader Ray Davies's songwriting towards social commentary. Ray hoped that the success of Kwyet Kinks would allow for more EPs made up of exclusive material, but Pye's focus on the more popular singles market meant that future Kinks EPs instead collected previously released recordings.
Background and music
editThe Kinks' singles and LPs from mid-1964 to mid-1965 were characterised by a focus on fast, gritty rhythm and blues and rock and roll.[1] Kwyet Kinks marked a stylistic departure from the Kinks' earlier output by being mostly acoustic in sound,[2] a change reflected in the title through its play on the word "quiet".[3] The music critic Richie Unterberger describes the EP as generally folk rock.[4] The Kinks recorded all four of its songs at Pye Studios in London around 5 August 1965, except for "Wait Till the Summer Comes Along", which they recorded on 3 May.[5] Shel Talmy produced the EP and Alan MacKenzie likely engineered.[6]
Dave Davies composed and sang the EP's lead track, "Wait Till the Summer Comes Along", a country-tinged ballad featuring a twelve-string guitar.[7] The song was the first by the Kinks written only by Dave,[8] and his brother Ray Davies composed and sang the EP's remaining three songs.[6][nb 1] Contemporary and subsequent coverage of the EP has typically focused on Ray's song "A Well Respected Man", which signalled his shift in songwriting from basic sentiments about love towards satire and social commentary about contemporary British society.[9] Among band biographers, Johnny Rogan writes that the song "Such a Shame" suggested the Kinks' transition from beat music to folk rock,[10] and Nick Hasted writes that the appeals to comfort, familiarity and domestic life in "Don't You Fret" anticipated Ray's later songwriting.[11]
Release and reception
editPye Records issued Kwyet Kinks in the United Kingdom on 17 September 1965.[6] The release was the band's third EP released in the UK and their second to feature entirely new material, following the previous year's Kinksize Session.[12] The critic Allen Evans reviewed Kwyet Kinks favourably in New Musical Express, writing that the band's softer sound proved as successful as their louder output.[6][13] "A Well Respected Man" received regular airplay on UK radio stations, driving sales of Kwyet Kinks,[14] which reached number one on both Record Retailer and Record Mirror magazines' EP charts.[6][15] The EP remained on Record Mirror's chart for 32 weeks.[16]
One of the year's best sellers,[11] Kwyet Kinks's sales exceeded what was typical for an EP at that time.[17] Prompted by the release's unexpected success,[18] Ray promised in interviews that the Kinks would release more EPs satirising unconventional trends and fashions,[19] hoping that the format would prove an ideal medium in developing his songwriting.[18] As Pye's focus remained on the more profitable singles market,[18] the label cancelled all planned EPs of new Kinks material and instead recycled older material on subsequent releases.[10][nb 2]
In the United States, where EPs were comparatively uncommon, Reprise Records instead used the songs on Kwyet Kinks as the basis for the US-only LP Kinkdom. Released on 24 November 1965, Kinkdom peaked at number 47 on the Billboard Top LPs chart. In addition, the label issued "A Well Respected Man" as a single on 4 November.[20] Though the band were unable to promote the single's release, it reached number 13 on the Billboard Hot 100 chart.[21][nb 3] Reflecting on the situation decades later, Rogan characterises the decision by Pye to relegate "A Well Respected Man" to Kwyet Kinks rather than releasing it as a UK single as "[p]robably one of the greatest blunders in the Kinks' career".[23][nb 4]
Track listing
editAll tracks written by Ray Davies, except "Wait Till the Summer Comes Along" by Dave Davies.[nb 1] Track lengths are from the 2011 Deluxe Edition of Kinda Kinks, and are per AllMusic.[24]
Side one
- "Wait Till the Summer Comes Along" – 2:08
- "Such a Shame" – 2:17
Side two
- "A Well Respected Man" – 2:41
- "Don't You Fret" – 2:42
Personnel
editAccording to the band researcher Doug Hinman:[6]
The Kinks
- Ray Davies – lead vocal, acoustic guitar; twelve-string guitar ("Wait Till the Summer Comes Along")
- Dave Davies – backing vocal, electric guitar; lead vocal ("Wait Till the Summer Comes Along")
- Pete Quaife – bass guitar
- Mick Avory – drums
Production
- Shel Talmy – producer
- Alan MacKenzie – engineer
Charts
edit| Chart (1965–66) | Peak position |
|---|---|
| UK Record Mirror EP chart[15] | 1 |
| UK Record Retailer EP chart[6] | 1 |
Notes
edit- ^ a b On the EP's original label, "Wait Till the Summer Comes Along" is erroneously credited to Ray.[10]
- ^ The following year's EP, Dedicated Kinks, collected four of the band's most recent A-sides.[10]
- ^ Due to incidents during the Kinks' first US tour in June and July 1965, the American Federation of Musicians informally blacklisted the band from performing in the United States.[22]
- ^ Rogan contends that the combination of the EP's success, the song's strong UK radio play and its US chart appearance despite a lack of promotion indicate that the song was a strong contender to reach number one in the UK.[23]
References
editCitations
edit- ^ Doyle 2020, p. 59.
- ^ Doyle 2020, pp. 60, 62; Stanley 2014, p. 157; Hasted 2011, p. 66.
- ^ Davies 2022, p. 116.
- ^ Unterberger, Richie. "Great Moments in Folk Rock: Lists of Author Favorites". Richieunterberger.com. Archived from the original on 21 October 2022. Retrieved 7 January 2023.
- ^ Hinman 2004, pp. 55, 62, 66.
- ^ a b c d e f g Hinman 2004, p. 66.
- ^ Doyle 2020, p. 60: (lead track); Rogan 1998, p. 26: (country-tinged ballad, written and sung); Hinman 2004, p. 66: (twelve-string).
- ^ Davies 2022, p. 116–117.
- ^ Rogan 1998, pp. 25–26; Doyle 2020, pp. 59–60; Lupro 2006, p. 193; Fitzgerald 2000, p. 59.
- ^ a b c d Rogan 1998, p. 26.
- ^ a b Hasted 2011, p. 66.
- ^ Rogan 1998, p. 25.
- ^ Evans, Allen (1 October 1965). "EPs". New Musical Express. p. 12.
- ^ Kitts 2008, p. 64.
- ^ a b "Record Mirror Charts Page". Record Mirror. 20 November 1965. p. 11.
- ^
- "Record Mirror Charts Page". Record Mirror. 23 September 1965. p. 11.: (debut)
- "Record Mirror Charts Page". Record Mirror. 30 April 1966. p. 11.: (last week)
- ^ Kitts 2002, p. 11.
- ^ a b c Hinman 2004, p. 76.
- ^ Rogan 1984, p. 65; Kitts 2008, p. 64.
- ^ Hinman 2004, pp. 66, 68, 70, 72.
- ^ Rogan 1984, p. 63; Rogan 1998, p. 26.
- ^ Hinman 2004, pp. 58–60.
- ^ a b Rogan 1984, p. 63.
- ^ Erlewine, Stephen Thomas. "Kinda Kinks [Deluxe Edition] – The Kinks". AllMusic. Archived from the original on 30 January 2023. Retrieved 30 January 2023.
Sources
edit- Davies, Dave (2022). Living on a Thin Line. London: Headline Publishing Group. ISBN 978-1-4722-8980-3.
- Doyle, Mark (2020). The Kinks: Songs of the Semi-Detached. London: Reaktion Books. ISBN 978-1-78914-254-9 – via Google Books.
- Fitzgerald, Jon (2000). "Lennon–McCartney and the Early British Invasion, 1964–6". In Inglis, Ian (ed.). The Beatles, Popular Music and Society: A Thousand Voices. New York City: St. Martin's Press. pp. 53–85. ISBN 978-0-312-22235-2 – via the Internet Archive.
- Hasted, Nick (2011). The Story of the Kinks: You Really Got Me. London: Omnibus Press. ISBN 978-1-84938-660-9 – via the Internet Archive.
- Hinman, Doug (2004). The Kinks: All Day and All of the Night: Day by Day Concerts, Recordings, and Broadcasts, 1961–1996. San Francisco, California: Backbeat Books. ISBN 978-0-87930-765-3.
- Kitts, Thomas M., ed. (2002). "Chronology". Living on a Thin Line: Crossing Aesthetic Borders with The Kinks. Rumford, Rhode Island: Desolation Angel Books. pp. 9–24. ISBN 0-9641005-4-1.
- Kitts, Thomas M. (2008). Ray Davies: Not Like Everybody Else. New York City: Routledge. ISBN 978-0-415-97768-5 – via the Internet Archive.
- Lupro, Michael Mooradian (May 2006). "Preserving the Old Ways, Protecting the New: Post‐War British Urban Planning in The Kinks Are the Village Green Preservation Society". Popular Music and Society. 29 (2): 189–200. doi:10.1080/03007760600560094. ISSN 0300-7766. S2CID 144597530.
- Rogan, Johnny (1984). The Kinks: The Sound and the Fury. London: Elm Tree Books. ISBN 0-241-11308-3.
- Rogan, Johnny (1998). The Complete Guide to the Music of the Kinks. London: Omnibus Press. ISBN 978-0-7119-6314-6.
- Stanley, Bob (2014). Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé. New York City: W. W. Norton & Company. ISBN 978-0-393-24269-0 – via the Internet Archive.