Talk:The Kinks

From Wikipedia, the free encyclopedia
Jump to: navigation, search
Featured article The Kinks is a featured article; it (or a previous version of it) has been identified as one of the best articles produced by the Wikipedia community. Even so, if you can update or improve it, please do so.


It is usual in wikipedia, although not universal (is anything universal in wikipedia?), to treat bands as a compound noun, if that's the right term, and give them plural verbs - i.e., "The Kinks were" not "The Kinks was". This is true even when the name of the band is singular - e.g. The Jam. - DavidWBrooks (talk) 14:33, 30 May 2012 (UTC)

That is one of the differences between British and American English. As this is a British topic, the plural form is used, but for an American topic - say Aerosmith or The Velvet Underground - the singular form is used. SilkTork ✔Tea time 21:15, 8 December 2012 (UTC)

Correction: "Golden age" section should read 1966-1972--discussion of 1966 should be placed under "Golden age" section--"Breakthrough and touring ban" section should read "1964-1965"[edit]

The "Golden age" section of this article should read 1966-1972, not 1967-1972. It was in 1966 with the release of songs such as "I'm Not Like Everybody Else," "Dead End Street," and "Sunny Afternoon," on singles, as well as the release of their first LP masterpiece, "Face to Face"--Face to Face (The Kinks album) (UK rel. Oct. 28, 1966, Pye Records) , that The Kinks entered what is now regarded as their "golden age." [1] [2] [3] This is the common understanding of all followeres and observers of The Kinks. See Jason Gross' website devoted to this topic, The Golden Age of the Kinks ( [4] According to Don Igancio, regarding thier 1966 album, Face to Face: "This album not only marks the Kinks at the beginning of their peak years (from 1966-1972)..." [5]. See also article by Stanley Urbane "Face to Face-Heralding the "Golden Age" of The Kinks," where he says "In 1966...with 4th album, Face To Face, The Kinks took a marked change of direction, and for many, this was the beginning of the "Golden Age" of The Kinks." [6] The Face to Face album is inseperable from the preceding singles (mentioned above) that had been realeased throughout 1966--they are closely tied. They share the same thematic and stylistic preoccupations with the album. In fact, "Sunny Afternoon" was included on the original Face to Face LP, and the other singles' songs are usually included as bonus tracks on CD versions of the album.

Understandably, making this change would necessitate other changes:

  • The text discussing The Kinks in 1966 should be taken out of "Breakthrough and and touring ban" section and placed under "Golden age" section.
  • The "Breakthrough and touring ban section" should cover the years 1964-1965 (not 1964-1966--as I said, 1966 should be transferred to next section). The US touring ban actually was in effect for a few more years (up through 1968 or 1969), [7] but it was in 1965 that the ban was put into place. So, 1965 would make a better year to end the breakthrough/touring ban section, because after that (1966) the Kinks enter a new phase (a phase that the article mentions was already beginning in late 1965).

And or course 1964-1965 were great years also--the kind that any other band would regard as a golden period. Long live the Kinks!!! Garagepunk66 (talk) 06:30, 22 December 2012 (UTC)

I made the necessary changes. Now the article is more precise and factual. Garagepunk66 (talk) 08:28, 1 January 2013 (UTC)

Nicky Hopkins was session man, not full-fledged member of the band[edit]

The graphs and lists that show the various lineups/band members convey the false impression that Nicky Hopkins was a full-fledged member of the band (1965-1968), when he was not. He certainly did play an important role as a session player (piano, keyboards, harpsichord) on the four albums they did during these years--and he is, no doubt, regarded as perhaps the most famous session player in British rock. But, he was not a full band member and did not tour or play live gigs with them. Nor was he ever pictured in any group photos. He did only studio session work for them, just as he did for other bands at this time such, as The Rolling Stones and The Who. Supposedly, he was even the inspiration for Ray Davies' song "Session Man." Don't get me wrong, he should definitely be mentioned in the article. But, he should not be on any of the band lists or graphs, designated as an actual band member, because he wasn't. Garagepunk66 (talk) 07:19, 21 December 2012 (UTC)Garagepunk66 (talk) 05:08, 17 June 2014 (UTC)

I made a change: I kept Hopkins' name mentioned in the band "past members" list and in the graph down at the bottom, but I put in parenthesis "(session)" after his name to make his role more clear. That will have to do for now. But, I still feel that his name should be removed from these lists/graphs, for the best sake of accuracy. Garagepunk66 (talk) 05:21, 17 June 2014 (UTC)

Is "Percy" a studio album?[edit]

Several editors keep adding and removing "Percy" from the list of studio albums. How about if you discuss it here and try and reach consensus? (I have no opinion, myself.)

To start the discussion, it is currently listed under "Live and other albums" on The Kinks discography, distinct from "Studio albums" - DavidWBrooks (talk) 20:08, 13 February 2014 (UTC)

Personally, I have no problem with listing Percy as a studio album. I believe that it may have been intended as a soundtrack for a movie that never got made. But, if you think it would go better under the "Live and other albums" section, that is also fine--just as long as it is mentioned somewhere in the discography. Garagepunk66 (talk) 04:44, 17 June 2014 (UTC)

Heading and Legacy sections should say: "...of the rock era" or " rock history"--Kinks influence transcends time[edit]

To merely say: "The Kinks are recognized as one of the most important and influential rock acts of the 1960s and early 1980s" or ..."of the era..." (i.e. just the 60s) falls short of the band's true proportions as almost universally regarded in rock history. There is an near unanimous consensus amongst rock writers, critics, and music lovers that the Kinks are one of the most important and influential acts of the whole rock era, not just of the 60s and/or early 80s. Those were certainly their two most successful periods (artistically: 1964-1972, and 1977-1983; commercially: 1964-1966 and 1977-1983) and no doubt they had fallow periods in other years, but other important acts who have stayed in music for a long time, such as the Rolling Stones or Dylan, have also had dry spells. And like those artists, the Kinks' importance transcends the vicissitudes of time.

They exerted a heavy influence on nearly every one of the hundreds of thousands of garage bands that sprang up across America in the 60s, so much so that their influence rivaled that of the Beatles and Rolling Stones. With their early use of power chords, they have influenced every subsequent form hard rock, be it the Who, punk, heavy metal, grunge, you name it. Ray Davies' class conscious lyrics were a huge influence on 70s British punk acts, such as the Sex Pistols, the Clash and the Jam. No band, not even the Beatles, was as influential on the Britpop scene of the 90s as the Kinks. Bands such as Blur and Oasis revered the Kinks, perhaps, above all others.

Pete Townshend called Ray Davies "the poet laureate" of England. In his song lyrics, Ray Davies has captured 20th century and modern England in a definitive kind of way that is almost comparable to what Dickens was able to do with the 19th century Victorian era--and the same cannot likely be said for any other figure, literary or otherwise, in recent history. That is no mean achievement, and he will be remembered for it. In the world of rock lyricists he is usually treated in the same league with luminaries such as Lennon and McCartney and Dylan. The Kinks are the only band that I know of (not even the Beatles) that has ever been crowned the ultimate accolade of having had a golden age (as a band unto themselves, not merely as part of a larger golden era). So the statements in the heading and Legacy sections should be changed to read: "...are recognized as one of the most important and influential acts of the rock era" or " of the most influential acts in rock history." That would be the most accurate characterization of their reputation. Garagepunk66 (talk) 04:30, 17 June 2014 (UTC)

  1. ^ J. Gross, The Golden Age of the Kinks,
  2. ^ D. Ignacio, The Kinks,
  3. ^ S. Urbane Face to Face-Heralding the "Golden Age" of the Kinks,
  4. ^ J. Gross, The Golden Age of the Kinks,
  5. ^ D. Ignacio, The Kinks,
  6. ^ S. Urbane Face to Face-Heralding the "Golden Age" of the Kinks,
  7. ^ J. Gross, The Golden Age of the Kinks,