The Kinks

* - indicates wholly or partially live album. In recent years, Loggins has continued to produce within the Adult contemporary genre, but the light-hearted, jazzy rock that personifies his past career will not be lost. On January 4, Ray was shot in the leg while chasing thieves who had snatched the purse of his companion in the French Quarter of New Orleans, and on June 30 Dave suffered a stroke in an elevator at the London offices of the BBC, where he had been promoting his latest solo album, Bug, he was hospitalised and released on August 27. for a live audience of 500,000. Moreover, both Ray and Dave suffered injuries in 2004 which will postpone any Kinks reunion for some time. In 1991, Loggins recorded and produced Leap of Faith, an important album in his career featuring the hit "Conviction of the Heart." Former Vice-President Al Gore billed this song as "the unofficial anthem of the envrionmental movement." On Earth Day in 1995, Loggins performed at The National Mall in Washington, D.C. They have each released solo albums and toured extensively. Loggins also produced a song called "Forever", which would become an internationally recognized piece, translated into several languages.

One of Ray's projects included a symphony commissioned by the Norfolk and Norwich Festival. In the 1990s, Loggins continued his album career, including the popular 1994 children's album, Return to Pooh Corner, which included the emotionally touching single "House at Pooh Corner". In the early 2000s, talk of a Kinks reunion has circulated, but for the past several years, both Ray and Dave Davies have been preoccupied with their own projects. All of these songs remain an integral part of American popular culture. Dave Davies' "Kink", was published in the spring of 1996. Hits followed with "Footloose" from the film of the same name, "Meet Me Halfway" from Over the Top, and "Danger Zone", from Top Gun. Ray Davies also took his toll and acted as a godfather, while promoting his autobiography, "X-Ray", which was published in early 1995 in the U.K. Over the next decade, Loggins produced many hit songs for movie soundtracks. This began with "I'm Alright" from Caddyshack.

Particularly Blur frontman Damon Albarn several times stressed that the Kinks are one of the bands that made biggest impact on his songwriting. Nightwatch, a popular album released in 1978, included the hit "Whenever I Call You Friend". Several of the most popular Britpop bands of the decade, including Blur and Oasis cited the Kinks as a major influence on their careers. In 1977, Loggins went on to produce his first solo album, Celebrate Me Home, which included the hit "This is It". Despite a lack of commercial success, the band's profile began to rise in 1995. Loggins began his career in the 1970s, and after catching the attention of fellow singer-songwriter Jim Messina, the two began a duo career that would last until 1976. and without a label in the U.S. His career spans several decades, namely the latter half of the 1970s, the 1980s, and the early 1990s.

In 1994, the band was dropped from Columbia Records, leaving the group to release the live To the Bone on an independent label in the U.K. He was born in Everett, Washington. By this time, only Ray and Dave Davies remained from the original lineup. Kenny Loggins (born January 7, 1948) is an American singer and songwriter. The Kinks' first album for Columbia, Phobia, arrived in 1993 to fair reviews but poor sales. Later in the year, the band signed with Columbia Records and released an EP called Did Ya, which didn't chart.

In 1991, a compilation of their MCA records, Lost & Found (1986-1989), appeared, signalling that their contract with the label had expired. The Kinks were inducted into the Rock & Roll Hall of Fame in 1990, but the induction did not help revive their career. During 1989, keyboardist Ian Gibbons left the band. Two years later, the Kinks released their last studio record for MCA, UK Jive.

The following year, the Kinks released another live album, appropriately titled The Road, which spent a brief time on the charts. Think Visual, their first album for their new label, was released in late 1986. It was a mild success but there were no hit singles from the record. In early 1986, the band signed with MCA Records in the U.S., London in the U.K. Word of Mouth was the last album they would record for Arista Records.

Released in late 1984, the album was similar in tone to the last few Kinks records, but it was a commercial disappointment and began a period of decline for the band; they never ever released another record that entered the Top 40. As Ray finished production on Return to Waterloo, he wrote the next Kinks album, Word of Mouth. Nevertheless Mick continued his work in the Konk studios. Instead of breaking up, the Kinks reshuffled their lineup, but Mick Avory, the band's drummer for 20 years, tired with incessable punch-ups and break-ups quit the band and was replaced by Bob Henrit.

For the remainder of 1983, Ray Davies worked on a film project, Return to Waterloo, which caused considerable tension between himself and his brother. State of Confusion followed the release of "Come Dancing", and it was another success, peaking at number 12 in the U.S. it climbed to number 12. In spring of 1983, "Come Dancing" became the group's biggest American hit since "Tired of Waiting for You," thanks to the video's repeated exposure on MTV; in the U.S., the song peaked at number six, in the U.K.

For most of 1982, the band was on tour. The Kinks' next album, Give the People What They Want, appeared in late 1981; the record peaked at number 15 and went gold. Even though punk rockers like the Jam and the Pretenders were covering Kinks songs in the late 70s, the group was becoming more commercial with each release, culminating in the heavy rock of Low Budget 1979, which became the group's biggest American success, peaking at number 11. Soon, the band was playing arenas in the United States.

After a British tour, Dalton left the band again, along with keyboardist John Gosling; bassist Jim Rodford and keyboardist Gordon Edwards filled the vacancies. success. Misfits, the band's second Arista album, was also a U.S. As the band was completing the follow-up to Sleepwalker, Pyle left the group and was replaced by the returning Dalton.

Sleepwalker, the Kinks' first album for Arista, became a major hit in the U.S. Bassist John Dalton left the group near the completion of their debut Arista album; he was replaced by Andy Pyle. On Arista, the band refashioned themselves as a hard rock band and bounced back to the charts. In 1976, the Kinks left their record company RCA and signed with Arista Records.

In 1976, the Kinks recorded Davies' third straight rock opera, Schoolboys in Disgrace, which rocked harder than any album they released on RCA. Despite poor reviews, Soap Opera was a more commercially successful record than its predecessor. Davies began another musical, Starmaker, for the BBC; the project eventually metamorphosed into Soap Opera, which was released in the spring of 1975. Act 2 appeared in the summer of 1974; the sequel received worse treatment than its predecessor.

When the first installment of the opera finally appeared in late 1973, it was harshly criticized and given a cold reception from the public. Inspired by fellow modders the Who in 1973, Ray Davies composed a full-blown rock opera called Preservation. A few months after the release of Muswell Hillbillies, Reprise released a double-album compilation called The Kink Kronikles, which outsold their RCA debut. Everybody's in Showbiz (1973), a double record set consisting of one album of studio tracks and another of live material, was a disappointment in the U.K., although the album was more successful in the U.S. The album failed to be the commercial blockbuster RCA had hoped for.

Released in late 1971, Muswell Hillbillies, the group's first album for RCA, marked a return to the nostalgia of the Kinks' late-'60s albums, only with more pronounced country and music hall influences. By the end of 1971, the Kinks had secured a five-album deal with RCA Records, which brought them a million dollar advance. The band's contract with Reprise expired in early 1971, leaving the Kinks free to pursue a new record contract. and U.K., helping the band become concert favorites in the U.S.

Released in the fall of 1970, Lola versus Powerman and the Moneygoround, Part One was their most successful record since the mid-'60s in both the U.S. and the U.S. The first appearance of Gosling on a Kinks record was "Lola." Featuring a harder rock foundation than their last few singles, "Lola" was a Top Ten hit in both the U.K. As they were recording the follow-up to Arthur, the Kinks expanded their lineup to include keyboardist John Gosling.

Like its two predecessors, Arthur contained distinctly British lyrical and musical themes, but it was a modest success. Before they began the tour, the Kinks released Arthur (Or the Decline and Fall of the British Empire). In early 1969, the American ban upon the Kinks was lifted, leaving the band free to tour the U.S. for the first time in four years. Peter Quaife soon grew tired of the band's lack of success, and he left the band by the end of the year, being replaced by John Dalton.

While the album was unsuccessful, it was well-received by critics, particularly in the U.S. Released in the fall of 1968, the latter was culmination of Davies' nostalgic tendencies. Released in the spring of 1968, the Kinks' "Wonderboy" was the band's first single not to crack the Top Ten since "You Really Got Me." They recovered somewhat with "Days," but the band's commercial decline was evident by the lack of success of The Kinks Are the Village Green Preservation Society. hit for the band.

Following the lackluster performance of Something Else, the Kinks rushed out a new single, "Autumn Almanac," which became another big U.K. Despite the Kinks' musical growth, their chart performance was beginning to stagnate. Released in the fall of 1967, Something Else By The Kinks continued the progressions of Face to Face. in the spring of 1967.

In May 1967, they returned with "Waterloo Sunset," a ballad that reached number two in the U.K. "Sunny Afternoon" was a teaser for the band's great leap forward, Face to Face, a record that featured a vast array of musical styles. "Sunny Afternoon" was one of Davies' wry social satires and the song was the biggest hit of the summer of 1966 in the U.K., reaching number one. The Kinks' next album, The Kinks Kontroversy, demonstrated the progression in Davies' songwriting.

Consequently, Davies' songs grew more introspective, relying more on English influences such as music hall and English folk, than the rest of his British contemporaries. For four years, the Kinks were prohibited from returning to the U.S., which not only meant that the group was deprived of the world's largest music market, but that they were effectively cut off from the musical and social upheavals of the late 60s. At the conclusion of their summer 1965 American tour, the Kinks were banned from re-entering the United States by the American government for unspecified reasons. Not only was the group recording at a breakneck pace, they were touring relentlessly, as well, which caused much tension within the band.

During this time, the band also produced two full-length albums and several EPs. "All Day and All of the Night," the group's fourth single, was released late in 1964 and it rose all the way to number two; in America, it hit number seven. "You Really Got Me" reached number one within a month of its release; released on Reprise in the U.S., the single climbed into the Top Ten. Not only was the final version the blueprint for the Kinks' early sound, but scores of groups used the heavy, power chords as a foundation.

The band's third single, "You Really Got Me", was much better received and shot the charts. "Long Tall Sally" was released in February 1964, but it failed to chart, as did their second single, "You Still Want Me". Before the single was released, the group changed their name to the Kinks. The Ravens recorded their debut single, a cover of Little Richard's "Long Tall Sally," in January 1964.

Before signing to the label, the Ravens replaced drummer Willet with Mick Avory, who became drummer for the band in the next 20 years. Talmy helped the band land a contract with Pye in 1964. Eventually, their demo tape reached Shel Talmy, an American record producer who was under contract to Pye Records. By the summer of 1963, the group had decided to call itself the Ravens and had recruited a new drummer, Mickey Willet.

Soon, the brothers recruited a schoolmate of Ray's, Peter Quaife, to play with them; like the Davies brothers, Quaife played guitar, but he switched to bass. 3 February 1947), who were born and raised in Muswell Hill, London. In their teens, the brothers began playing skiffle and rock & roll. 21 June 1944) and Dave Davies (b. Throughout their long career, the core of the Kinks remained brothers Ray (b.

. Ray Davies' intensely British outlook and his penchant for nationalist nostalgia was consciously imititated by 90s Brit Pop bands such as Pulp or Blur. Their early incarnation as rebellious three-chord rockers provided a template for punk, and their later psychedelic albums (particularly The Village Green Preservation Society) are frequently cited by underground musicians and music fans as an apogee of pop songwriting. Nevertheless, the Kinks are one of the most influential British Invasion bands.

The band never gained the same degree of popularity as their peers because legal problems prevented them from touring in America throughout most of the late 1960s. The Davies brothers had a tempestous relationship, and their frequent quarrels often degenerated into fist-fights, sometimes taking place onstage. The name is thought to refer to the style of "kinky" boots and clothing then in fashion, partly thanks to the Avengers television series. The group was briefly called The Ravens until, at their manager Larry Page of Page One Records' urging, they changed their name to The Kinks just before their first recording.

The lineup with which they began their recording career was Dave Davies (lead guitar, vocals, songwriting); his brother Ray Davies (primary songwriter, primary vocalist, rhythm guitar); Pete Quaife (bass guitar, vocals); and Mick Avory (drums). The Kinks, a British Invasion pop/rock band, were formed in London in 1963 by Dave Davies and Peter Quaife. January 1997 The Days EP #35 UK. August 1983 "Come Dancing" #12 UK.

May 1972 "Supersonic Rocket Ship" #16 UK. December 1970 "Apeman" #5 UK. July 1970 "Lola" #2 UK. January 1970 "Victoria" #33 UK.

April 1969 "Plastic Man" #31 UK. July 1968 "Days" #12 UK. April 1968 "Wonderboy" #36 UK. October 1967 "Autumn Almanac" #3 UK.

May 1967 "Waterloo Sunset" #2 UK. November 1966 "Dead End Street" #5 UK. June 1966 "Sunny Afternoon" #1 UK. March 1966 "Dedicated Follower Of Fashion" #4 UK.

December 1965 "Till The End Of The Day" #8 UK. August 1965 "See My Friend" #10 UK. May 1965 "Set Me Free" #9 UK. March 1965 "Everybody's Gonna Be Happy" #17 UK.

January 1965 "Tired Of Waiting For You" #1 UK. October 1964 "All Day And All Of The Night" #2 UK #7 US. August 1964 "You Really Got Me" #1 UK.  ??? 1964 "You Still Want Me".

February 1964 "Long Tall Sally". To the Bone, 1994 (UK), 1996 (US)*. Lost & Found (1986-1989) (1991). UK Jive, 1989.

Live: The Road, 1987*. One for the Road, 1980*. Everybody's in Show-Biz, 1972*. The Kink Kronikles 1971.

Live at Kelvin Hall, 12 Jan 1968 (recorded 1966)*. Schoolboys in Disgrace, 1975. Soap Opera, 1975. Preservation Act 2, 1974.

Preservation Act 1, 1973. Phobia, 1993. Think Visual, 1986. Word of Mouth, 1984.

State of Confusion, 1983. Give the People What They Want, 1981. Low Budget, 1979. Misfits, 1978.

Sleepwalker, 1977. Muswell Hillbillies, 24 Nov 1971. Lola versus Powerman and the Moneygoround, Part One, 27 Nov 1970. Arthur (Or the Decline and Fall of the British Empire), 10 Oct 1969.

The Kinks Are the Village Green Preservation Society, 22 Nov 1968. Something Else By The Kinks, 15 Sept 1967. Face to Face, 28 Oct 1966. The Kinks Kontroversy, 26 Nov 1965.

Kinda Kinks, 5 Mar 1965. The Kinks (Released in the US as You Really Got Me), 2 Oct 1964.