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DAVE DAVIES: MORE THAN A KINKY GUY

Kinks' Lead Guitarist Deserves His Own Spotlight

By Paul Freeman [1998 Interview]

They were mod. They were mad. They were marvelous. The Kinks were among the most influential bands to emerge from the British Invasion.

Yes, primary vocalist and songwriter Ray Davies gets most of the attention. But The Kinks would not have been The Kinks, one of the greatest rock bands of all time, without the contributions of his younger brother, Dave, the group's innovative, electrifying lead guitarist.

His riffs, beginning with sensational singles like "You Really Got Me" and "All Day and All of the Night," knocked listeners up against the wall upon first hearing. And they remain riveting when listening to them for the 1,000 time.

Dave occasionally sang lead and wrote several memorable Kinks numbers, including "Strangers," which was part of 1970's "Lola Versus Powerman and the Moneygoround, Part One." His rocker "Rats" was also on that album. The powerful beauty "Trust Your Heart" appeared on 1978's "Misfits" LP. But his vocalizing and songwriting were too often overlooked or under-appreciated. And the brothers have had a tumultuous relationship.

Dave had a huge hit in the UK and Europe with the 1967 single "Death of a Clown" (which was also featured on The Kinks' "Something Else By The Kinks" album. Over the years, Davies has released numerous solo albums, showing an adventurous spirit, unafraid to traverse far beyond the realms of familiar rock.

We were able to interview Davies in 1998, after the release of "Unfinished Business: Dave Davies Kronikles 1963-1998," a two-disc compilation set on Velvel Records.

He was 52 at the time of our interview. In 2004, Davies suffered a debilitating stroke. But within two years, he was again playing the guitar. In 2019, at age 72, Davies is on tour, still exciting audiences with his dynamic and diverse music. In 2017, he unveiled a new album, "Open Road," a collaboration with his son Russ. Davies recently issued a new collection of previously unreleased 70s material, "Decade."

POP CULTURE CLASSICS:

Seeing this new Velvel package being put together, spanning more than 30 years, does that give you a different sort of perspective on career?

DAVE DAVIES:

Well, yeah, this particular project has taken about four years, from start to actually getting it released, put together, the "Unfinished Business" package. I think the idea of this thing is to show the input in my collaboration with The Kinks and to give my solo projects a higher profile. And also making the statement that it's a work in progress. I'm very pleased with it. It's got some live stuff on it, which brings it right up to date, because I'm touring with a band and I'm very excited about doing more dates.

PCC:

Does putting together all this material allow you to chart your own progress, your musical evolution, over the years?

DAVIES:

Yeah, I think it does. It shows the different areas that I explored musically, in my career, with The Kinks and with my own recordings. So I'm very excited about it.

PCC:

Do you think this package might give the general public a greater appreciation for your songwriting and vocal talents?

DAVIES:

Absolutely. It's early days yet, but even what reviews we've had already, seem to be saying just that, that it gives me a showcase, as it were, for my singing and songwriting.

PCC:

Had you craved that sort of showcase over the years, that kind of spotlight?

DAVIES:

I kind of did. In a way, I think so, yeah. I mean, it's always been great playing live with The Kinks, because you get to stretch out anyway. But I think this album kind of makes a statement about my involvement and the scope of my work as a singer and songwriter, that maybe might have been overshadowed by Ray's work.

PCC:

Had you never toured solo until '97? I don't think you had done so at least in America prior to that.

DAVIES:

I hadn't. I'd done selected shows. I'd done guest appearances on shows and stuff like that. I did a tour in early '97 and that was really my first actual, legit, solo tour. I'd been dying to do it, but I never had the musicians. There are a lot of great musicians out there, but sometimes it's difficult to find the right guys, the right entity. I think I've found a good bunch of guys and I'm excited about it.

PCC:

When you began performing with these guys, getting on stage with a band that wasn't The Kinks, did that seem strange?

DAVIES:

At first, yes. It was a bit nerve-wracking at first, I must admit. But you get used to it. And it was nice once I started to relax, once I'd gained a bit of confidence. I really love being up there on stage. It's the only place to be.

PCC:

Once you're reached that comfort level, does it end up being a more satisfying experience, fronting your own band? Or is it just different?

DAVIES:

It's just different, because sometimes it can be quite straining, but the energy picks you up. Because I like to put quite high-power, high-energy shows together. I quite like to mix it with quiet stuff. But generally it's quite high-energy shows. And I'm enjoying myself.

PCC:

You mentioned being in Ray's shadow. Is that something you were always conscious of?

DAVIES:

It never really occurred to me very much, except when press people mentioned it, because I was always quite happy with my contributions within the band and the collaboration that Ray and I put together over the years on various albums. I think it was other people that thought it might have been more of a problem than I did myself.

PCC:

It was pretty clear that The Kinks wouldn't have been The Kinks without your contribution.

DAVIES:

Thanks very much [laughs]. Followers of the band would see it that way, I think.

PCC:

In terms of the history of the band, do you think the sibling affection or the sibling conflict had more impact on it.

DAVIES:

I think really, on reflection, that the relationship has been more productive than it has counter-productive. I think it's helped, that fusion of different ideas, different approaches... and the tension. I think it's helped to fuel a lot of creativity within The Kinks, looking at the positive side. Of course, there's been down times, when things haven't been so nice. But I think overall, our relationship has actually stimulated ideas, created ideas.

PCC:

But there is a degree of artistic rivalry?

DAVIES:

I think you'd get that anyway. I think sometimes you just have to let go of that and just get on with the job at hand. You want to look beyond that. You want to take more of an overall view. You want get the work done and you want it to be as good as it can be. That's what's most important. Too many artists or groups get sidetracked by their own self-importance. You know what I mean? That will work against you creatively.

PCC:

But at this point, where does the relationship stand, after all the books and the solo projects?

DAVIES:

Well, we're still brothers [laughs]. But Ray's been off doing his tour and his writing. I'm really enjoying myself touring at the moment and having this album out. We get on okay. We haven't spoken for a month or two, but he seems well and we're happy going our own separate ways for the time being. And who knows? Maybe we'll get together and make another Kinks album one of these days.

PCC:

With all the bands that emerged during the British Invasion era, there are so few that remained vital for the length of time that The Kinks did. Why do you think you had that kind of meaningful longevity?

DAVIES:

Probably various reasons really. But if you look at the bands that have lasted, like The Kinks and the Stones and The Beatles, we were all bands that were sort of self-contained. The Kinks have always written our own music. It's funny, a few months ago, I was talking to a friend of mine, a guy called Tony Hicks, who played in The Hollies. And he thought that the reason The Hollies never became as big as The Kinks or the Stones in America was because we wrote our own material and The Hollies were always having to rely on other people's songs, people from outside the group. So I think that's helped.

And also, Ray and I are very kind of driven people. We both enjoy working, enjoy what we do. I think that's very important -- to enjoy what you do. I think that keeps you motivated.

PCC:

But being driven, has that ever been a detriment, in terms of other areas of life? Can that make it difficult to have a balanced life?

DAVIES:

It can. It's very difficult. I admire people who have held down a long-term relationship, while being creative. Personal relationships can be very difficult for creative people. But I think, as you get older, you do realize that you've got to balance things out. You shouldn't drive yourself crazy or take yourself too seriously. You have to take life with a pinch of salt, you know? Because the music business is all a little bit of a joke. [Laughs] You've got to look at the sunny side of it, I think.

PCC:

Has the music business changed that substantially since your early days? Or are the changes more superficial?

DAVIES:

I think it's changed substantially, from the business point. It's become very corporate now. And maybe in a few years, there will only be one record company. I hate to think that. But independent companies are starting up again, which I find very encouraging.

And because of the internet, there are different sorts of bands selling now and starting to gain recognition with independent companies. I find that all very interesting and very healthy. But yeah, it's become very big business. We've always had these conflicts between creative people and business people being thrown together.

PCC:

All the legal hassles that The Kinks had to struggle through over the years, how much of a distraction was that?

DAVIES:

Oh, you can get so wrapped up in that. You want to understand what's going on and it can be a real beast, a monster that can really sidetrack you. You can end up starting to think like a lawyer at the end of the day. And you think, "Hang on, I'm supposed to be a writer. I'm a musician. Why are we having to think like lawyers?" It's become a necessary part of the music business now, because it is quite intricate.

When we started, we were very green and very naive kids coming out of school and college and being thrust into a music industry, which was in its embryo stages, really. There wasn't really a record industry so to speak, not like it became, particularly in the 70s and 80s. And everybody was very much just making it up as they went along, whereas now, a new musician or new band starting out, they have to be quite conversant in like the legal side of things, contracts. You have to be a lot more aware of the pitfalls now, when you're starting out.

PCC:

The 60s was such an exciting period for music. For you, was it just a fun adventure? Did you feel like you were caught up in a whirlwind at times?

DAVIES:

Well, in the beginning it was quite exciting. Around '69, it started to get a bit more serious. But earlier, it was an incredible time. It was very spontaneous. You could do anything you liked. You could buy a funny hat and walk down Carnaby Street and the next week, you'd see your picture on the front page of a fashion magazine. It was a very interesting period. It was all very spontaneous, a very exciting time. It can never be the same. It was adventurous time, in music, in fashion. People's ideas were changing.

And then it became serious once we hit the 70s. Record companies became corporate. It became a lot more serious. I don't think The Kinks have ever taken themselves that seriously... not too seriously. Although, obviously our music is important to us. That's certainly not something we take lightly.

PCC:

What do you see as being the legacy of the band?

DAVIES:

Ooh, that's a really hard question to answer. I think we've influenced a lot of musicians, from David Bowie to Led Zeppelin to Green Day -- a lot of people were influenced by The Kinks. And I think there's a special kind of uniqueness about The Kinks, which I am quite proud of as a collaborative member of the band all these years.

PCC:

Lyrically, The Kinks were at an elite level among bands.

DAVIES:

It's people's music, I think. It's really kind of anti-show business, in a way. It tells stories. It's all about people, emotions. It's about everyday people coming to terms with reality... or not coming to terms with reality.

PCC:

And the sound... every rock guitarist learns your riffs, when they're starting out.

DAVIES:

Yeah, musically, as well. The sound was an influence on a lot of people, musicians -- the sound, sonically. A lot of young bands come up to me and say, "Well, how did you get that sound?" -- As if it was some kind of tremendous effort. It was just like getting together, you plugged in your amp and what equipment you had. Recording techniques were quite basic. We just got into the room and played and recorded it. It was actually quite simple. I wish it was that simple now.

PCC:

It must be gratifying when you hear so many guitarists copping your licks.

DAVIES:

I don't know -- isn't that a bit like -- I don't know if I'd have even picked up a guitar, if I hadn't heard Eddie Cochran, for example. I mean, if it hadn't have been for Buddy Holly and all the great blues guitar players of the late 50s, early 60s, I might not have been inspired to play. I think that everybody needs encouragement and inspiration to develop your own way in life, whether you're a musician or painter or whatever. You need to draw your inspiration from somewhere.

It's flattering when I see in young bands' music elements of The Kinks, which they've obviously borrowed. And we all borrow ideas from each other anyway.

PCC:

In the 60s, was there a feeling of competition amongst the bands?

DAVIES:

Very much so. yes. Everybody held their cards very close to their chest, the Stones, The Beatles -- everyone wanted to see what was going to come out next. In those days, singles came out every month or so. Every six weeks or eight weeks, there was another single out. We used to just have to churn them out. It was a very creative period, from '63 to '70.

PCC:

Did you do some of those bus tours with a lot of acts on the bill?

DAVIES:

Oh, the package tours. Yeah, we did some of them, our very early shows. Before "You Really Got Me" was a hit, which was our first hit, we went out on the road with The Dave Clark Five and The Hollies -- The Hollies became great friends of ours. We went out on the package tours and we'd start the show. We'd just go out there and do a 10-minute set.

PCC:

What was the atmosphere like on the bus?

DAVIES:

Oh, it was fun. There were a lot of petty jealousies. The Hollies hated The Dave Clark Five, because they thought that they were a manufactured band, thrown together and they didn't play their own instruments on the records. The Hollies were very talented, home grown musicians, whereas The Dave Clark Five were kind of honed by the music industry -- a bit like The Monkees, in a way. They were kind of put together by shrewd people behind the scenes. So there was a lot of resentment there. But it was fun. We did other tours -- Billy J. Kramer and Gerry and The Pacemakers.

PCC:

Were there a lot of crazy incidents that took place on those tours?

DAVIES:

Oh, loads of them... let me think... There was a lot of craziness, a lot of partying. I remember one night, with Gerry and the Pacemakers, it was after show in a little country town, in Devon, I think, and we were trying to get a couple of girls back to the hotel and the security people wouldn't let us take them back. It was like an old-fashioned hotel with all the antiques. And we got a little bit crazy and we got an axe that was hanging on the wall and we cut up one of the staircases.

And there were loads of weird, stupid things. You end up spending money on wrecked hotel rooms. There were the usual things, like televisions being thrown out the windows. I'd like to know who the first person was who threw a television out the window. I wonder if that has been documented. It'd be interesting to know [Laughs]

PCC:

Are you still living in London?

DAVIES:

I live in London, but I travel a lot, backwards and forwards between L.A. and London, mainly. I have a lot of friends in the States.

PCC:

Are you married now?

DAVIES:

No, I'm in a relationship at the moment, but I'm not married. But I have been and I have kids. I have seven children... eight. Eight children.

PCC:

What's the age span?

DAVIES:

I have a daughter 34, I think. A son 31. And they go right down to four years old... five years old. I get a lot of pleasure from spending time with my kids. I call them kids, but most of them are adults. I get on very well with my kids. I enjoy them very much.

PCC:

And one of them is on the new album?

DAVIES:

Oh, yes. We've got Simon Davies who has his own band, that just finished recording in England. They have a band called UK Mash.

PCC:

Have you given him advice on the music business?

DAVIES:

Well, kind of, yeah. I mean, especially when they were getting their contracts together with their management company. They asked me questions about whether they should do this or that -- what do you think? So yeah, I help when I can. But I try not to interfere.

PCC:

You can tell them the pitfalls to avoid.

DAVIES:

Yeah. But they're pretty smart. I really enjoy giving them what help I can.

PCC:

How old are you now?

DAVIES:

Fifty-two this coming February.

PCC:

And what's the age difference between you and Ray?

DAVIES:

Oh, Ray's much older. Three years. Although I found out the other day that Ray's 49. [Laughs at his brother fudging his age] I don't know how I managed it, but that would mean I'm now 46.

PCC:

You've been interested in film scoring and screenwriting in recent years?

DAVIES:

I worked on a couple of movies with John Carpenter, a film called "Village of the Damned," was the last thing I did with him [1995], which was really exciting. I composed the main theme for the film. And then we worked on incidental stuff together. I like working with him. It was great fun. I really enjoyed it.

I'm working on a rewrite of a script, which is based on my mother's life, at the moment. It has music in it. It's semi-autobiographical, about growing up in London in the late 50s. So that's something I'm working on at the moment that I'm very excited about.

PCC:

The album is titled "Unfinished Business." Despite all you've accomplished, do you still feel there's a lot left to do?

DAVIES:

I do think there's a lot of stuff I want to do. I have many interests. I just finished a CD, which I'm selling on my site, which I co-composed with another of my sons, Russell. And it's called "Purusha and the Spiritual Planet." We collaborated on that. It's kind of like ambient.

PCC:

Are you going to do a new rock solo album?

DAVIES:

I'd like to. I've got a lot of material. We're in negotiations at the moment to do a rock 'n' roll studio album. I'd really like to do that.

PCC:

In the meantime, we'll enjoy "Unfinished Business."

DAVIES:

Well, thank you. I think Velvel did a great job. I'm really excited about it.