"State of Confusion" | ||||
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Single by The Kinks | ||||
from the album State of Confusion | ||||
B-side | "Labour of Love" | |||
Released | December 1983 | |||
Recorded | March 1983 at Konk Studios, Hornsey, London | |||
Genre | Pop rock | |||
Length | 3:41 | |||
Label | Arista | |||
Songwriter(s) | Ray Davies | |||
Producer(s) | Ray Davies | |||
The Kinks singles chronology | ||||
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"State of Confusion" is a song written by Ray Davies and first released by The Kinks as the title track of their 1983 album State of Confusion . Although it was not released as a single in the United States, it reached #26 on Billboard's Hot Mainstream Rock Tracks chart. [1] It was released as a single in Continental Europe.
The lyrics of "State of Confusion" depict numerous sources of frustration to the singer. [2] Among these are technological failures, such as a television that's "on the blink," a clothes dryer that doesn't work and a video machine that breaks down. [2] [3] In addition, there are more domestic problems as the basement is flooded, the attic has woodworm and the ceiling has collapsed. [2] [4] To make matters worse, when the video machine breaks, the singer's girlfriend gets bored and leaves him. [2] [3] Later in the song, the singer is frustrated by trying to cross the street amidst traffic. [2] The song ends with the singer unable to sleep due to financial worries and concluding that there is "no escape" from the world's "state of confusion." [2] If anything, things get worse as you age.
Ray Davies commented on the song's meaning, "It was a difficult time: '83, '84. Songs like 'Definite Maybe', 'State of Confusion', it's all got this concern about it". [5]
Musically, the music opens with Dave Davies playing guitar chords, onto which Ian Gibbons layers on keyboard part which Ray Davies's biographer Thomas Kitts describes as "thin" and "haunting." [2] Dave Davies then starts playing the guitar riff, described by Kitts as "belligerent," after which Ray Davies lets out a "tormented" scream, before beginning to sing the lyrics of the song. [2] The song's guitar riff is an extension of the riffs played by Dave Davies back to the earliest Kinks' hits, "You Really Got Me" and "All Day and All of the Night." [2]
One theme of the song is the way technology can overwhelm human emotion. [2] Kitts suggests that the word "state" in the song and in the title represents multiple meanings – a psychic state of confusion, as well as the state as the government promoting consumer consumption, as well as the state of popular music which traps the singer, particularly in the video. [2] Music critic Johnny Rogan finds the song a continuation of Davies' "misfit persona" from earlier songs. [4]
"State of Confusion" was recorded at Konk Studios in Hornsey in March 1983, late in the recording process for the album. [6] The song replaced the original intended title track of the album, "Entertainment." [6] [7]
The Kinks shot a music video for MTV to support the song. The video depicts Ray Davies facing sources of frustration both at home and in the recording studio. [2] Some of the sources of frustration in the video are different than those depicted in the song lyrics, such as difficulty using a computer and a razor at home, and difficulties with cue cards and a guitar strap in the studio. [2] The video does not depict the girlfriend who moves out, but does show Davies struggling to cross the street. [2] The video ends on a more triumphant note than the song lyrics: after Davies emerges from his dressing room for a performance, he leaps on stage with legs outstretched and the video ends with a freeze frame at the top of the leap. [2] The energetic ending suggests transcending the earlier frustrations, perhaps as a result of the creative act of artistic performance. [2]
Music critic Johnny Rogan considers "State of Confusion" a "fist-thrusting anthem," finding the singer's mishaps and the chaos he faces "amusing." [4] Music critic Pete Bishop considers the song "solid rock with some dance beat." [8] Author Rob Jovanic claims that it "dashes along with the best pop-rockers of the era, such as "Footloose." [9]
After its initial release on State of Confusion, "State of Confusion" has appeared on a few Kinks compilation albums. [10] It appeared on the 1996 US version of To the Bone , but not on the 1994 UK version. [7]
"The Village Green Preservation Society" is a song by the English rock band the Kinks from their 1968 album The Kinks Are the Village Green Preservation Society. Written and sung by the band's principal songwriter Ray Davies, the song is a nostalgic reflection where the band state their intention to "preserve" British things for posterity. As the opening track, the song introduces many of the LP's themes, and Ray subsequently described it as the album's "national anthem".
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.
"Shangri-La" is a song written by Ray Davies of the Kinks. The song appeared on the 1969 concept album, Arthur. The song's inspiration can be traced back to when the band visited the Davies brothers' sister, Rose, and her family in Australia, the "designed community" that the family lived in serving as the initial lyrical inspiration. The song's highly ironic lyrics comment on British class society while portraying Arthur, the album's ill-fated protagonist, and his empty life in the suburbs. The musical aspects of the song both reflect and comment on the mood of the lyrics.
"Don't Forget to Dance" is a song performed by British rock group The Kinks, released as a single in 1983 and included on their album State of Confusion.
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"Come Dancing" is a 1982 song written by Ray Davies and performed by British rock group the Kinks on their 1983 album State of Confusion. The song was inspired by Davies' memories of his older sister, Rene, who died of a heart attack while dancing at a dance hall. The lyrics, sung from the perspective of an "East End barrow boy," are about the boy's sister going on dates at a local Palais dance hall.
"Picture Book" is a song by the English rock band the Kinks from their 1968 album The Kinks Are the Village Green Preservation Society. Written and sung by Ray Davies, the song's lyrics describe the experience of an ageing narrator flipping through a photo album reflecting on happy memories from "a long time ago". Recorded in May 1968, its cheerful sound is defined by the jangle of an acoustic twelve-string guitar and a disengaged snare drum. In continental Europe, the song was issued as the B-side of the album's lead single, "Starstruck", in November 1968. The same single was issued in the United States in January 1969, though it failed to appear in any charts.
"God's Children" is a song written by Ray Davies and performed by The Kinks. Written as part of the soundtrack for the film Percy, it features lyrics protesting the use of science to interfere with the natural human form. It was released as a single in 1971 and later appeared on the band's soundtrack album Percy. Critics have praised the song and it has since appeared on several Kinks compilations.
"The Hard Way" is a song written by Ray Davies and first released by The Kinks on their 1975 album Schoolboys in Disgrace. It was also released on The Kinks live album One for the Road and on several greatest hits collections. The Knack covered the song on their 1980 album ...But the Little Girls Understand.
"(Wish I Could Fly Like) Superman" is a song written by Ray Davies that was first released on the Kinks' 1979 album, Low Budget. The song, inspired by Superman: The Movie, employs a disco beat and lyrics that describe the singer's wish to be like the fictional character Superman. The song's disco style was created as a response to Arista Records founder Clive Davis's request for "a club-friendly record," despite Ray Davies' hatred of disco.
"Catch Me Now I'm Falling" is a song written by Ray Davies and first released by The Kinks as the second track on their 1979 album Low Budget. Written as a criticism of America's allies, the song depicts the fall of Captain America as a symbol of the United States' dire circumstances at the time. The song features multiple solos on different instruments as well as a riff similar to "Jumpin' Jack Flash".
"Sitting in My Hotel" is a song written by Ray Davies that was first released on The Kinks' 1972 album Everybody's in Show-Biz. It was also released on several compilation albums and as the B-side of the "Sweet Lady Genevieve" single. It is one of Davies' more introspective songs, musing about the cost of fame and stardom, and thus contributes to the album's theme of the difficulties of life on the road.
"Drivin'" is a song written by Ray Davies of the Kinks which appeared on that group's 1969 concept album Arthur . It was released in the UK as the first single from the album, but failed to chart.
"Starstruck" is a song by the English rock band the Kinks from their 1968 album The Kinks Are the Village Green Preservation Society. Written and sung by Ray Davies, the song was recorded in July 1968. The song was issued as the album's lead single in continental Europe in November 1968 and in the United States in January 1969. The European release was accompanied by a promo film shot in Waterlow Park, Highgate. The song failed to chart anywhere besides the Netherlands, where it reached No. 13 on the Veronica Top 40 and No. 9 on the Hilversum 3 Top 30.
"Low Budget" is the sixth track from The Kinks' album of the same name. It was written, produced and sung by Ray Davies.
"Do You Remember Walter?" is a song by the English rock band the Kinks from their sixth studio album, The Kinks Are the Village Green Preservation Society (1968). Written and sung by Ray Davies, the song was recorded in July 1968. The song's narrator describes an experience of running into old friend, only to find that the two no longer have anything to talk about. The song was directly inspired by a similar experience of Davies. As one of several character studies to appear on Village Green, the song is often characterised by commentators as central to the album's themes of nostalgia and loss. Retrospective commentators have described it as one of Davies's best compositions.
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