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Post by ILEE on Mar 27, 2007 16:06:14 GMT -5
Just done the deed and booked my tickets
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Post by nicola6 on Mar 27, 2007 16:12:35 GMT -5
Congratulations, ILEE!! I can't wait for your report.
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Post by ILEE on Mar 28, 2007 14:09:27 GMT -5
Yes, I can't wait for May to meet everyone. We owe it to ourselves to make the most of the opportunity As for work permits... I 'm working on it ;D
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Post by rose on Mar 28, 2007 18:16:22 GMT -5
congrats Ilee! crows know how to get the job done! WE NEED A CROW MOTI! and now I know what the censors did to my poor Spikey's breed name, too, in the pet thread post i just made( kcoc-a-poo) ;D
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Post by ilesofsmiles on Mar 30, 2007 21:15:59 GMT -5
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Post by ILEE on Mar 31, 2007 17:56:31 GMT -5
hmmm, seeing Ray 3 times in 4 months, can I swing it with Mrs ILEE? We were out in the car today and I put on a special playlist of Kinks songs I thought Mrs ILEE would like (she's not a fan, she likes her pop music more). She really liked them I shall be doing that more often. After all its no skin off my nose to listen the likes of Come Dancing, Heart Of Gold, Don't Forget To Dance, Good Day, How Do I Get Close, Now And Then, Lost And Found, Did Ya, Predictable, Better Things and Yo-Yo (amongst others) is it???
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Post by nicola6 on Apr 1, 2007 0:18:52 GMT -5
None at all.
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Post by ilesofsmiles on Apr 9, 2007 20:47:42 GMT -5
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Post by rose on Apr 10, 2007 16:47:28 GMT -5
From Neil's KPS: Date: Mon, 9 Apr 2007 21:54:29 +0100 From: "Olga Ruocco" <olga.ruocco@which.net> Subject: Spare Ray ticketsA friend is selling spare Ray tickets Thurs 17th May, Warwick AA19 #22.50 Sunday 20th May, Liverpool C15 #27.50 Tuesday 15th May A10, Gateshead A10 #26.00 Let me know if you are interested. Olga
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Post by rose on Apr 10, 2007 17:02:39 GMT -5
Ten Questions for Ray Davies Chris Ingham, Mojo, April 1997 What's happening in Kink land? To The Bone is a new semi-Unplugged Kinks double live album originally done for my own archival purposes, four years ago. We'd done a really tough world tour and didn't know if the band would actually play together again. Pleased with it. I've also been doing my solo show with readings from my book X-Ray, Kinks songs helping the narrative along. Is it a challenge sorting through your catalogue, deciding what to dust off?The problem is sorting out what drove me to write any given song. A lot of my inspirations are momentary, impressions of people and things. I have to try and find the original mindset, get back inside the song. A lot of what I write is psychological, it seems like face value but it isn't. In discovering songwriting over the years, I was discovering my own psyche. We did ‘Do You Remember Walter’ for To The Bone, only me and Dave played on the original recording, hadn't played it since. Nice to get that on. I've thought of doing an evening of the neglected corners of the work. I call that my work, not The Kinks' work, that's the problem with it. Your singing style is variously cool British pop, Jamaican patois, rock bellow, upper-crust fey cabaret, hillbilly twang. Why the disguises?The songs are cast. I put myself into roles for some of these songs. It happens, it's inevitable with what I do. People have called me an actor but that's because they can't categorise it. I am the tool of the song, not the other way round. I guess some actors can play Hamlet the way they play Shane, but I don't. As an artist, I'm anonymous behind the work and I quite enjoy that. It enables me to do more, to stretch within a song. You wrote X-Ray (The Unauthorised Autobiography) from the point of view of a young journalist interviewing you in the future. Why the distance from first person narrative?I thought it was the only way to do justice to the band, to me, the background, I suppose the mental state. Unemployable art student, six months later under a microscope, it put me under a lot of duress. It was the only way I could come to terms with the psychological part of the book. The book is based in my psyche. A lot of the underworld of the journalist is basically how I felt, still do. It's my parallel world that works with me. I couldn't have written a normal book, that's the way I am. I'm quite a cryptic person, I communicate in code most of the time. If there's something that upsets me and something has to be done, I'll put it on hold for a week or two, until I'm ready to deal with it. And if I'm writing a song, it'll influence the song. There's an element of pretending things are happening to someone else in everything I do, really. Why do you write songs?It's an interesting way of putting down thoughts. I had insomnia when I was a child and I think it's simply because I heard that jazz musicians stayed up all night composing, I thought, That's a good thing to do. When people said, "Why don't you sleep?" I could say, "Because I'm a songwriter." It so happens I did well, but I like to think that if The Kinks hadn't been and I'd become a painter or worked in Sainsbury's, I still would have written ‘Waterloo Sunset’. Why did you agree to lead a course on songwriting?I thought at least I could give a little of my experience. I had no idea if I knew anything that other people didn't know. It turns out that people know anyway, they just want reassurance that they're not going mad. That's something that's disappearing from the music business. There was a time when a publisher would sit down with an artist, you would have to sit and play your songs before they would sign you. Now it's just another way of collecting money. So often A&R are just interested in drum samples, not songs. In the '70s, I moved to New York so I could walk down from my apartment to Clive Davis's [head of Arista] office on 57th St. and play him tunes. I got feedback, it was great You've done the vast majority of your writing alone. Does it ever get lonely?You need contact. I had lunch with my publisher once in New York, went back, wrote three songs, all pretty good. The secret is knowing when to break off, get in contact. I've just been for a walk around Crouch End, to see what people are like again. I don't like being left alone to write an album. I like a record company to say, "This is what we want." What worries me is that most of these people don't know what they want. You make 15 demos and the president of the company says, "Nah, it's not what we're after." What they should say is what they bloody well want to begin with. But that's the story of my life and of every kid who goes into a record company. Don't do it. Are you disappointed with the relative obscurity of your attempts at song cycles like Arthur and Preservation?No, they were workshop productions, work in progress. Also RCA didn't understand what I was doing. They should have come on board, toured the workshop production, modifying it, refining it, investing in it. One of them actually said to me, "We're not in the talent business." I'm not quite sure what that meant. Dare I say I was 20 years ahead of them. Maybe I should have waited and made regular albums but I think I would have gone mad. I may have been mad anyway. The only reason I wanted to go on was to make those shows. I've still got this wish to do Preservation well. The albums stand up, but they're a bit odd. I showed a film of the Schoolboys In Disgrace (1975) show to a theatre director in New York and he said, "You were doing this then?" It was fringe theatre rather than rock opera. When people see the film of Soap Opera (1974), their jaws drop. In the late '70s, The Kinks seemed to reinvent themselves as a kick-ass arena rock band, perhaps neglecting some of the subtler aspects of their art along the way. Are you aware of that?Yeah, post-punk. We concentrated on making records that were more accessible for record buyers. Ironically, that coincided with us going into larger auditoriums. It was a concerted effort by manager and record company to do that and we bought into that theory, partly to get back the time we'd missed in America in the early days by being banned. Turned it on its head. Oddly, Clive Davis didn't want ‘Come Dancing’ to be a Top 10 hit. He saw us as an AOR crossover act. We should have been on Atlantic at that time. We would have sold 10 times as many records. The Kinks seems to have been a hip name to drop as an influence for a while now. Do you enjoy that?It's flattering. All right, we've made a few key records but sometimes when people can't put their finger on describing something, they'll say "Oh, The Kinks". When bands have something in them that's a little bit off-centre, experimental-garage-art-school-type bands, they say they like The Kinks. Not so much because they've heard every one of our records, but maybe they recognise the outsider spirit. At least we've fulfilled some sort of role. © Chris Ingham, 1997
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Post by nicola6 on Apr 10, 2007 17:13:28 GMT -5
Terrific article, Rose.
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Post by TomT on Apr 10, 2007 19:04:09 GMT -5
Ditto. Thanks Rose, that was new to me.
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Post by HollyH on Apr 10, 2007 21:32:01 GMT -5
Wow, Ray said some truly insightful things in that interview. Here's the line I'm most intrigued by: "I call that my work, not The Kinks' work, that's the problem with it." That's a very fine line, isn't it? Personally I think the creative tension between being an individual artist and being part of a band may have stimulated Ray's creativity more than he realizes...
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Post by nicola6 on Apr 10, 2007 21:36:54 GMT -5
Danny Elfman always said that when he was with his band he longed to compose for film, and, when he was composing, he wanted to be back with his band. I think a certain measure of discontent can help drive creativity.
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Post by Iñakink on Apr 11, 2007 9:30:36 GMT -5
Thanks!
"...if The Kinks hadn't been and I'd become a painter or worked in Sainsbury's, I still would have written Waterloo Sunset"
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