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  • Sunny Afternoon ~ The Kinks - Stereophonics ~ Acoustic Cover w/ Epiphone Dove LE EB

    88 views 2 weeks ago
    (c)1966 Words & Music by Ray Davies
    Arr. stagwolf [Played in the key of Am, Capo 2nd fret, sounds in B minor, Original key=Dm
    ~~~~~~~~
    The tax man's taken all my dough and left me in my stately home, lazing on a sunny afternoon.
    And I can't sail my yacht, he's taken everything I've got, all I've got's this sunny afternoon.
    Save me, save me, save me from this squeeze. I got a big fat mama trying to break me.
    And I love to live so pleasantly, live this life of luxury, lazing on a sunny afternoon.
    In the summertime, in the summertime, in the summertime..
    My girlfriend's run off with my car and gone back to her ma and pa, telling tales of drunkenness and cruelty.
    Now I'm sitting here, sipping at my ice cold beer, lazing on a sunny afternoon.
    Help me, help me, help me sail away, well give me two good reasons why I oughta stay.
    'Cause I love to live so pleasantly, live this life of luxury, lazing on a sunny afternoon.
    In the summertime, in the summertime, in the summertime..
    Save me, save me, save me from this squeeze. I got a big fat mama trying to break me.
    And I love to live so pleasantly, live this life of luxury, lazing on a sunny afternoon.
    In the summertime, in the summertime, in the summertime..
    ~~~
    "Sunny Afternoon" was first written in Ray Davies' house when he was sick.
    "I'd bought a white upright piano. I hadn't written for a time. I'd been ill. I was living in a very 1960s-decorated house. It had orange walls and green furniture. My one-year-old daughter was crawling on the floor and I wrote the opening riff. I remember it vividly. I was wearing a polo-neck sweater."
    Davies said of the song's lyrics, "The only way I could interpret how I felt was through a dusty, fallen aristocrat who had come from old money as opposed to the wealth I had created for myself." In order to prevent the listener from sympathizing with the song's protagonist, Davies said, "I turned him into a scoundrel who fought with his girlfriend after a night of drunkenness and cruelty."
    Davies said of the song as well as its recording:
    "Sunny Afternoon was made very quickly, in the morning, it was one of our most atmospheric sessions. I still like to keep tapes of the few minutes before the final take, things that happen before the session. Maybe it's superstitious, but I believe if I had done things differently—if I had walked around the studio or gone out—it wouldn't have turned out that way. The bass player went off and started playing funny little classical things on the bass, more like a lead guitar: and Nicky Hopkins, who was playing piano on that session, was playing "Liza"—we always used to play that song—little things like that helped us get into the feeling of the song. At the time I wrote Sunny Afternoon I couldn't listen to anything. I was only playing The Greatest Hits of Frank Sinatra and Dylan's Maggie's Farm—I just liked its whole presence, I was playing the Bringing It All Back Home LP along with my Frank Sinatra and Glenn Miller and Bach—it was a strange time. I thought they all helped one another, they went into the chromatic part that's in the back of the song. I once made a drawing of my voice on Sunny Afternoon. It was a leaf with a very thick outline—a big blob in the background—the leaf just cutting through it."
    ~~~
    The song has been covered by performers including:
    The Standells on their 1967 album The Hot Ones!
    Jan and Dean on their album Silver Summer (1985)
    Jimmy Buffett on his Fruitcakes album (1994)
    Arjen Anthony Lucassen on his Strange Hobby (1997)
    Tommy Scott, in a duet with Tom Jones, on Jones' Reload album (1999)
    Stereophonics as a B-side on the Just Looking single on 1999.
    Bob Geldof, included on the four-CD compilation, Great Songs of Indifference (2005)
    The Cat Empire performed the song for Triple J's "Like A Version" Series in 2009.
    Drake Bell performed the song on The Ring Master[17] and on his 2014 album, Ready, Steady, Go!
    Nellie McKay on her 2015 album My Weekly Reader.
    Os Baobás on their album Os Baobás (1968).
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  • Kinda Kinks! ~ 1965 ~ My Covers Play all

    Kinda Kinks is the second studio album by the English rock band The Kinks, released in 1965. It was recorded immediately after the return of the group from an Asian tour, and was completed and released within two weeks. Consequently, the production was rushed and, according to Ray Davies, the band was not completely satisfied with the final cuts.[2][3] Due to record company pressure, however, no time was available to fix certain flaws present in the mix. Ray Davies has expressed his dissatisfaction towards the production not being up to par. Commenting on this, he said:
    "A bit more care should have been taken with it. I think (producer) Shel Talmy went too far in trying to keep in the rough edges. Some of the double tracking on that is appalling. It had better songs on it than the first album, but it wasn't executed in the right way. It was just far too rushed."
    -Ray Davies, Kinda Kinks CD liner notes.
    The album is noted for featuring the single "Tired of Waiting for You", which was a no. 1 hit in the UK Singles Charts.[4] The album itself hit no. 3 in the UK Album Charts.
    It was released in the United States with a different, rearranged, track listing and repackaged cover. Several tracks were removed as well, and the single "Set Me Free", released two months after the UK issue of Kinda Kinks, was unique to the album's US release.
    [From Wikipedia]
    Tracklist Original Mono Album
    1.Look for me baby
    2.Got my feet on the ground
    3.Nothin´ in the world can stop me worryin´ ´bout that girl
    4.Naggin´ woman
    5.I wonder where my baby is tonight
    6.Tired of waiting for you
    7.Dancing in the street
    8.Don´t ever change
    9.Come on now
    10.So long
    11.You shouldn´t be sad
    12.Something better beginning
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  • Kink Kontroversy ~ 1965 ~ My Covers Play all

    The Kink Kontroversy is the third studio album by the English band The Kinks, released in 1965. It is a transitional work, with elements of both the earlier Kinks' styles (heavily blues-influenced songs such as "Milk Cow Blues", and variations on the band's hits from 1964-65 such as "Till the End of the Day") and early indications of the future direction of Ray Davies' songwriting styles ("The World Keeps Going Round" and "I'm On an Island"). The album's title is a mocking reference to the notorious reputation the band had developed over the previous year, including onstage fights and concert riots in Europe, which led to a ban on the group's concerts in the United States. In both the United States and the United Kingdom, The Kink Kontroversy was only released in mono as no stereo mix was ever made.
    The single "Till the End of the Day" was a major hit, reaching no. 8 in the UK and no. 50 in the USA, spending eight weeks or more in each chart.
    [from wikipedia]
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  • Face To Face ~ 1966 ~ My Covers Play all

    Face to Face, released in 1966 on Pye Records in the United Kingdom and on Reprise Records in the United States, is the fourth UK studio album by The Kinks. A major artistic breakthrough for Kinks' songwriter Ray Davies. On the album, the Kinks move away from the hard-driving rock and roll style of 1964-65, which had catapulted the group to international stardom. It was the first Kinks album consisting entirely of Ray Davies compositions, and was their first album recorded over several months, rather than in one concentrated session.
    [From Wikipedia]
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