Dead End Street (song)

Last updated

"Dead End Street"
Dead End Street cover.jpg
West German picture sleeve
Single by the Kinks
B-side "Big Black Smoke"
Released18 November 1966 (1966-11-18)
Recorded21 October 1966 [1]
Studio Pye, London
Genre
Length3:20
Label
Songwriter(s) Ray Davies
Producer(s) Shel Talmy
The Kinks UKsingles chronology
"Sunny Afternoon"
(1966)
"Dead End Street"
(1966)
"Waterloo Sunset"
(1967)
The Kinks USsingles chronology
"Sunny Afternoon"
(1966)
"Dead End Street"
(1966)
"Mister Pleasant"
(1967)

"Dead End Street" is a song by the British band the Kinks from 1966, written by main songwriter Ray Davies. Like many other songs written by Davies, it is to some degree influenced by British Music Hall. The bass playing was partly inspired by the "twangy" sound of Duane Eddy's guitar. [4] It was originally released as a non-album single, but has since been included as one of several bonus tracks from the Face to Face CD. The song, like many others by the group, deals with the poverty and misery found in the lower classes of English society.

Contents

Background

According to Ray Davies, the lyrics are about a couple that want to emigrate to Australia under the Assisted Passage Migration Scheme but when that fell through they could not get a job. [5]

Describing the song in his 1996 autobiography, Kink, Dave Davies said: "'Dead End Street' was the epitome, to me, of what the Kinks were all about. A song full of character, pathos, yet containing an underlying sense of hope. Reflecting a fondness for the past but at the same time expressing a determination and yearning for change. Anguished voices calling to a heartless world. A world where the plight of the ordinary person mattered little. It was interesting to note that more than ten years later, the Clash did a song called 'London Calling' that seemed to be inspired by 'Dead End Street'." [6]

Ray Davies said of the song: "It was written very quickly and it was written for the winter. It was that thing of living in England and having had a great summer and now the light was closing in and the mood just shifts. The music had that little jazz backbeat, but there were these dark edges. I thought I was writing a trad jazz vamp about hard times that were coming. My father had lived through the depression and he had talked about it, so the song had that 20s/30s feel to it – those stomping chords, the march of destiny coming to grab you. It was a very visual backdrop to the song." [5]

The band recorded two versions of the song. The first, recorded with their usual producer Shel Talmy, used an organ and a French horn. Considering this version to have "no warmth in it at all", the band recorded the final version after Talmy left for the day, replacing the organ with a piano and the French horn with a trombone. [5] [7] The song incorporates two bass guitar parts. [5]

Reception

Upon release, the song was praised by Melody Maker who opined "It is the strength of the lyrics allied to a nostalglc, 1920s touch about the melody which confirms Ray Davies' position as one of the most influential pop composers of the 1960s." [7] Billboard described "Dead End Street" as an "exceptional off-beat item" with a "driving dance beat" that it expected to be a "surefire smash." [8] Cash Box said that the "drawn out melodies are terribly infectious and the gutsy vocal should be appealing to fans of many persuasions." [9] The song was a big success in the UK, reaching #5 on the singles charts, but only reached #73 in the United States. [10] In 1976 it ranked #72 on New Musical Express's list of the Top 100 Singles of All Time. [11] Some labels list the song as "Deadend Street".

Promotional film

A mimed promotional film (precursor to the modern music video) was produced for the song in late 1966. It was filmed on Little Green Street, a diminutive eighteenth century lane in North London, located off Highgate Road in Kentish Town.

Little Green Street, location of the "Dead End Street" promotional film Little Green Street London.jpg
Little Green Street, location of the "Dead End Street" promotional film

The film was shot in black and white, and featured each member of the band dressed as an undertaker, as well as playing various other characters. It runs roughly 3 minutes and 15 seconds. Dave Davies says that the BBC disliked the film, with the group dressed as Victorian pallbearers and one of their roadies in a nightshirt suddenly leaping out of the coffin as they put it down on the pavement, claiming it was in bad taste. [12]

The song was recorded at a time when bassist Pete Quaife had left the band after a scooter accident, and was replaced by John Dalton. Quaife had returned to the group by the time the promotional film was shot.

Personnel

According to band researcher Doug Hinman: [13]

The Kinks

Additional musicians

Charts

Chart (1966–67)Peak
position
Australia (Kent Music Report) [17] 62
Belgium (Ultratop 50 Flanders) [18] 11
Belgium (Ultratop 50 Wallonia) [19] 15
Canada Top Singles ( RPM ) [20] 28
Canada (CHUM) [21] 7
Denmark (Danmarks Radio) [22] 9
Finland (Suomen virallinen lista) [23] 23
France (IFOP) [24] 28
Germany (GfK) [25] 5
Ireland (IRMA) [26] 7
Netherlands (Dutch Top 40) [27] 5
Netherlands (Single Top 100) [28] 4
New Zealand ( Listener ) [29] 4
Norway (VG-lista) [30] 6
Sweden (Kvällstoppen) [31] 12
Sweden ( Tio i Topp ) [32] 4
UK Singles (OCC) [33] 5
US Billboard Hot 100 [34] 73
US Cash Box Top 100 [35] 72

Covers and alternative versions

"Dead End Street" has been covered by the Jam. The song and its music video influenced Oasis's #1 hit "The Importance of Being Idle" from 2005. [36] An unreleased alternative recording of the song from October 1966 was issued in December 2008 on the Kinks 6-CD box set Picture Book. In 2010, Davies also recorded this as a duet with Amy Macdonald on the album See My Friends .

Notes

  1. After Pete Quaife was injured in a 3 June 1966 car accident, Dalton served as a temporary replacement. [14] Dalton replaced Quaife as the Kinks' full-time bassist on 12 September 1966, making "Dead End Street" Dalton's first recording as an official member of the group. [15] Quaife returned to the band on 14 November 1966, replacing Dalton. [16]

Related Research Articles

<span class="mw-page-title-main">You Really Got Me</span> 1964 single by the Kinks

"You Really Got Me" is a song by the English rock band the Kinks, written by frontman Ray Davies. The song, originally performed in a more blues-oriented style, was inspired by artists such as Lead Belly and Big Bill Broonzy. Two versions were recorded, with the second performance used for the final single. Lead guitarist Dave Davies performs the song's famous guitar solo. Although it was long rumoured that future Led Zeppelin guitarist Jimmy Page had performed the song's guitar solo, this has been debunked by Page himself.

<i>Face to Face</i> (The Kinks album) 1966 studio album by the Kinks

Face to Face is the fourth studio album by the English rock band the Kinks, released on 28 October 1966. The album marked a shift from the hard-driving style of beat music that had catapulted the group to international acclaim in 1964, instead drawing heavily from baroque pop and music hall. It is their first album consisting entirely of Ray Davies compositions, and has also been regarded by critics as one of rock's first concept albums. Davies' blossoming songwriting style became increasingly observational and satirical, commenting on English culture, social class and the music industry.

<i>Something Else by the Kinks</i> 1967 studio album by the Kinks

Something Else by the Kinks, often referred to simply as Something Else, is the fifth studio album by the English rock band the Kinks, released on 15 September 1967 by Pye Records. The album continued the Kinks' trend toward an eccentric baroque pop and music hall-influenced style defined by frontman Ray Davies' observational and introspective lyrics. It also marked the final involvement of American producer Shel Talmy in the Kinks' 1960s studio recordings; henceforth Ray Davies would produce the group's recordings. Many of the songs feature the keyboard work of Nicky Hopkins and the backing vocals of Davies's wife, Rasa. The album was preceded by the singles "Waterloo Sunset", one of the group's most acclaimed songs, and the Dave Davies solo record "Death of a Clown", both of which charted in the UK top 3.

<span class="mw-page-title-main">Waterloo Sunset</span> 1967 single by the Kinks

"Waterloo Sunset" is a song by English rock band the Kinks. It was released as a single on 5 May 1967 and featured on the album Something Else by the Kinks later that year. Written and produced by Kinks frontman Ray Davies, "Waterloo Sunset" is one of the band's best-known and most acclaimed songs, and was ranked number 14 on the 2021 edition of Rolling Stone's 500 Greatest Songs of All Time list. It was also their first single that was available in true stereo.

<span class="mw-page-title-main">A Well Respected Man</span> 1965 single by the Kinks

"A Well Respected Man" is a song by the British band the Kinks, written by the group's lead singer and rhythm guitarist Ray Davies, and originally released in the United Kingdom on the EP Kwyet Kinks in September 1965. It was also released as a single in the US and Continental Europe.

<span class="mw-page-title-main">Lola (song)</span> 1970 song by The Kinks

"Lola" is a song by the English rock band the Kinks, written by frontman Ray Davies for their 1970 album Lola Versus Powerman and the Moneygoround, Part One. The song details a romantic encounter in a Soho bar between a young man and Lola, who is possibly a trans woman or cross-dresser. In the song, the narrator describes his confusion towards Lola, who "walked like a woman but talked like a man", yet he remains infatuated with her.

<span class="mw-page-title-main">Long Tall Sally</span> 1956 single by Little Richard

"Long Tall Sally", also known as "Long Tall Sally (The Thing)", is a rock and roll song written by Robert "Bumps" Blackwell, Enotris Johnson, and Little Richard. Richard recorded it for Specialty Records, which released it as a single in March 1956, backed with "Slippin' and Slidin'".

<i>The Kink Kontroversy</i> 1965 studio album by the Kinks

The Kink Kontroversy is the third studio album by the English rock band the Kinks. It was released in the United Kingdom on 26 November 1965 by Pye Records. Issued in the United States on 30 March 1966 by Reprise Records, it was the Kinks' first American album to feature an identical track listing to its British counterpart. It is a transitional album, with elements of both the earlier Kinks' styles and early indications of the future direction of Ray Davies' songwriting styles. The liner notes were written by Michael Aldred.

<span class="mw-page-title-main">The Kinks</span> English rock band (1963–1996)

The Kinks were an English rock band formed in London in 1963 by brothers Ray and Dave Davies. They are regarded as one of the most influential rock bands of the 1960s. The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965. Their third single, the Ray Davies-penned "You Really Got Me", became an international hit, topping the charts in the United Kingdom and reaching the top 10 in the United States.

<span class="mw-page-title-main">All Day and All of the Night</span> 1964 single by the Kinks

"All Day and All of the Night" is a song by the English rock band the Kinks from 1964. Released as a single, it reached No. 2 in the UK on the Record Retailer chart and No. 7 on the US Billboard Hot 100 chart in 1965. The song was included on the Kinksize Hits EP in the UK and the Kinks' second American album, Kinks-Size (1965).

<span class="mw-page-title-main">Sunny Afternoon</span> 1966 single by the Kinks

"Sunny Afternoon" is a song by the Kinks, written by frontman Ray Davies. The track later featured on the Face to Face album as well as being the title track for their 1967 compilation album. Like its contemporary "Taxman" by the Beatles, the song references the high levels of progressive tax taken by the British Labour government of Harold Wilson, although it does so through the lens of an unsympathetic aristocrat bemoaning the loss of his vast unearned wealth. Its strong music hall flavour and lyrical focus was part of a stylistic departure for the band, which had risen to fame in 1964–65 with a series of hard-driving, power-chord rock hits.

<span class="mw-page-title-main">Wonderboy (The Kinks song)</span> 1968 single by the Kinks

"Wonderboy" is a song by the English rock band the Kinks, written by Ray Davies. It was released as a non-album single in April 1968. It stalled at number 36 in the UK charts, becoming the band's first single not to make the UK Top Twenty since their early covers.

<span class="mw-page-title-main">Tired of Waiting for You</span> 1965 single by the Kinks

"Tired of Waiting for You" is a song by the English rock band the Kinks. It was released as a single on 15 January 1965 in the UK and on 17 February 1965 in the US. The single reached number one in the UK and number six in the US. It then appeared on their second studio album, Kinda Kinks. It was the group's highest-charting single in the US - tied with "Come Dancing", which achieved the same chart position eighteen years later in 1983.

<span class="mw-page-title-main">Dedicated Follower of Fashion</span> 1966 single by the Kinks

"Dedicated Follower of Fashion" is a 1966 song by British band the Kinks. It lampoons the contemporary British fashion scene and mod culture in general. Originally released as a single, it has been included on many of the band's later albums.

<span class="mw-page-title-main">Victoria (The Kinks song)</span> 1969 song written by Ray Davies

"Victoria" is a song written by Ray Davies of the Kinks. It is the opening track on the band's 1969 concept album Arthur .

<span class="mw-page-title-main">Set Me Free (The Kinks song)</span> 1965 single by the Kinks

"Set Me Free" is a song by Ray Davies, released first by the Kinks in 1965. Along with "Tired of Waiting for You", it is one of band's first attempts at a softer, more introspective sound. The song's B-side, "I Need You", makes prominent use of powerchords in the style of the Kinks' early, "raunchy" sound. "Set Me Free" was heard in the Ken Loach-directed Up the Junction, a BBC Wednesday Play which aired in November 1965; this marked the first appearance of a Kinks song on a film or TV soundtrack.

<span class="mw-page-title-main">Till the End of the Day</span> 1965 single by the Kinks

"Till the End of the Day" is a song by the Kinks, written by Ray Davies and released as a single in 1965 and later on their album The Kink Kontroversy. It centres on a power chord, like many of the group's early hits, and was similarly successful, reaching number eight in the United Kingdom and number 50 in the United States, spending eight weeks or more in each chart.

"Big Black Smoke" is the B-side to The Kinks' single "Dead End Street", written by Ray Davies. The song was not originally included on any album, but has since appeared as a track on the popular 1972 Kink Kronikles compilation and as a bonus track on the CD reissue of Face to Face.

<span class="mw-page-title-main">Days (The Kinks song)</span> 1968 single by the Kinks

"Days" is a song by the English rock band the Kinks, written by Ray Davies. It was released as a non-album single in June 1968. It also appeared on an early version of the album The Kinks Are the Village Green Preservation Society. It now appears as a bonus track of the remastered CD. On the original Pye 7N 17573 label, the name of the song is "Day's" owing to a grammatical error.

<span class="mw-page-title-main">Ev'rybody's Gonna Be Happy</span> 1965 single by the Kinks

"Ev'rybody's Gonna Be Happy" is a song by Ray Davies, released as a UK single by the Kinks in 1965. As the follow-up to the number-one hit "Tired of Waiting for You", and having their previous three singles all chart among the top two, it was less successful, reaching number 17. It broke a run of what would have been thirteen consecutive top-ten singles in the UK.

References

  1. Hinman 2004, pp. 91, 93.
  2. Bennett 1997, p. 23.
  3. Erlewine, Stephen Thomas. The Kinks - The Kink Kronikles (1972) Review at AllMusic. Retrieved April 13, 2024.
  4. Davies, Dave (1996). Kink: An Autobiography. Hyperion. p. 98. ISBN   0-7868-6149-5.
  5. 1 2 3 4 Fielder, Hugh (27 January 2022). "The story behind Dead End Street by The Kinks". Classic Rock. Louder Sound. Retrieved 28 June 2022.
  6. Davies, Dave (1996). Kink: An Autobiography. Hyperion. p. 98. ISBN   0-7868-6149-5.
  7. 1 2 "A touch of the kinky twenties" (PDF). Melody Maker: 11. 26 November 1966. Retrieved 28 August 2022.
  8. "Spotlight Singles" (PDF). Billboard. 17 December 1966. p. 16. Retrieved 2 March 2021.
  9. "CashBox Record Reviews" (PDF). Cash Box. 17 December 1966. p. 22. Retrieved 12 January 2022.
  10. "U.S. Chart Positions". Kinks.it.rit.edu. Archived from the original on 6 February 2009. Retrieved 13 June 2014.
  11. "Rocklist.net NME Greatest Singles Lists". Rocklistmusic.co.uk. Retrieved 13 June 2014.
  12. "Dave Davies Returns to Little Green Street and talks about Dead End Street". Youtube.com. Archived from the original on 21 December 2021. Retrieved 14 June 2014.
  13. Hinman 2004, p. 93.
  14. Hinman 2004, p. 84.
  15. Hinman 2004, pp. 89, 91.
  16. Hinman 2004, p. 91.
  17. "Every AMR Top 100 Single in 1967". www.top100singles.net.
  18. "The Kinks – Dead End Street" (in Dutch). Ultratop 50.
  19. "The Kinks – Dead End Street" (in French). Ultratop 50.
  20. "Top RPM Singles: Issue 10037." RPM . Library and Archives Canada.
  21. "CHUM Hit Parade, week of January 16, 1967". 16 January 1967. Retrieved 18 January 2021.
  22. "Top 20 – Uge 2". danskehitlister.dk. 14 January 1967. Archived from the original on 9 April 2016. Retrieved 14 November 2022.
  23. "Sisältää hitin: Levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1960: Artistit KET - KIR". Sisältää hitin. 13 August 2015. Retrieved 18 January 2021.
  24. "InfoDisc : Les Tubes de chaque Artiste commençant par K" (in French). InfoDisc. Select "Kinks" from the artist drop-down menu. Retrieved 18 January 2021.
  25. "The Kinks – Dead End Street" (in German). GfK Entertainment charts.
  26. "The Irish Charts – Search Results – Dead End Street". Irish Singles Chart.
  27. "Nederlandse Top 40 – The Kinks" (in Dutch). Dutch Top 40.
  28. "The Kinks – Dead End Street" (in Dutch). Single Top 100.
  29. "flavour of new zealand - search listener". Flavourofnz.co.nz. Archived from the original on 27 January 2021. Retrieved 18 January 2021.
  30. "The Kinks – Dead End Street". VG-lista.
  31. Hallberg, Eric (193). Eric Hallberg presenterar Kvällstoppen i P 3: Sveriges radios topplista över veckans 20 mest sålda skivor 10. 7. 1962 - 19. 8. 1975. Drift Musik. ISBN   9163021404.
  32. Hallberg, Eric; Henningsson, Ulf (1998). Eric Hallberg, Ulf Henningsson presenterar Tio i topp med de utslagna på försök: 1961 - 74. Premium Publishing. p. 205. ISBN   919727125X.
  33. "Kinks: Artist Chart History". Official Charts Company.
  34. "The Kinks Chart History (Hot 100)". Billboard.
  35. "Cash Box Top 100 1/21/67". cashboxmagazine.com. Retrieved 18 January 2021.
  36. Stephen Thomas Erlewine (31 May 2005). "Don't Believe the Truth – Oasis | Songs, Reviews, Credits, Awards". AllMusic. Retrieved 13 June 2014.

Sources