The Kinks

The Kinks

Company type	Private
Industry	Music
Founded	1962 in London, England
Founder	Ray Davies, Dave Davies, Pete Quaife
Headquarters	London , England
Products	Rock music, albums, singles
Number of employees	Band members (varied over time)

The Kinks originated as a rock group in London in 1962, founded by siblings Ray and Dave Davies, along with Pete Quaife. Rising amid the British rhythm and blues and Merseybeat movements, they briefly participated in the British Invasion of the American market until their touring ban in 1965. Their third release, Ray Davies' composition "You Really Got Me", achieved global success, reaching number one in the UK and securing a spot in the US Top 10.

Initially inspired by American R&B and rock and roll, their sound evolved to embrace elements of British music hall, folk, and country genres. The band became renowned for capturing English societal themes through Ray Davies' incisive and satirical songwriting, showcased on albums such as Face to Face (1966), Something Else (1967), The Village Green Preservation Society (1968), Arthur (1969), Lola Versus Powerman (1970), and Muswell Hillbillies (1971). Their transatlantic hit "Lola" (1970) marked a commercial peak. Although their popularity waned in the mid-1970s, they experienced a resurgence with albums like Sleepwalker (1977), Misfits (1978), Low Budget (1979), Give the People What They Want (1981), and State of Confusion (1983), which included the hit US single "Come Dancing".

The founding members consisted of Ray Davies on lead vocals and rhythm guitar, Dave Davies handling lead guitar and vocals, Quaife on bass, and Mick Avory playing drums. The Davies brothers remained constant throughout the band's tenure. Quaife temporarily departed in 1966, replaced by John Dalton, returned later that year, then exited permanently in 1969 with Dalton resuming bass duties. Keyboardist John Gosling joined in 1970 following earlier contributions from session player Nicky Hopkins. After Dalton left in 1976, Andy Pyle briefly filled the bass role before Jim Rodford took over in 1978. Gosling's departure in 1978 led to replacements by Gordon John Edwards and subsequently Ian Gibbons. Avory exited in 1984 and was succeeded by Bob Henrit. The band’s final live show occurred in 1996, with their official split coming in 1997 due to creative disputes between the Davies siblings.

Widely regarded as one of the most impactful rock groups of the 1960s, The Kinks secured seventeen UK Top 20 singles, five UK Top 10 albums, five US Top 10 singles on the Billboard Hot 100, and nine US Top 40 albums on the Billboard 200. Four of their records received RIAA Gold status, with total sales surpassing 50 million worldwide. Their accolades include the Ivor Novello Award recognizing "Outstanding Service to British Music." In 1990, the original lineup was inducted into the Rock and Roll Hall of Fame, followed by inclusion in the UK Music Hall of Fame in 2005. Numerous artists such as Van Halen, the Jam, the Knack, the Pretenders, and the Romantics have covered their songs, contributing to continued sales success. During the 1990s, Britpop acts like Blur and Oasis acknowledged The Kinks as a significant influence.

Origins (1962–1963)

Raised in a North London suburb, brothers Ray and Dave Davies were exposed to a wide range of musical genres, from their parents' music hall performances to jazz and early rock and roll favored by their older sisters. Both brothers mastered the guitar and collaborated on skiffle and rock tunes.

While attending William Grimshaw Secondary Modern School, they established the Ray Davies Quartet alongside classmate Pete Quaife and his friend John Start. This band played local venues and featured various lead singers, including Rod Stewart, who eventually formed a competing group.

In late 1962, Ray Davies began studying at Hornsey College of Art, focusing on film, theatre, jazz, and blues. Through connections with Alexis Korner and manager Giorgio Gomelsky, he joined professional jazz and R&B ensembles such as the Dave Hunt Band and Hamilton King Band. Meanwhile, the Ray Davies Quartet rebranded as the Ramrods, performing notable shows like the Valentine's Day 1963 concert at Hornsey Town Hall. Although the Hamilton King Band disbanded in June 1963, the Ramrods continued under various monikers before temporarily settling on the Ravens.

Management was handled sequentially by Grenville Collins, Robert Wace, and later Larry Page. Producer Shel Talmy began collaborating with them, while promoter Arthur Howes organized their live performances. After several unsuccessful attempts to secure a record deal, Talmy negotiated a contract with Pye Records in early 1964. Drummer Mickey Willet departed just prior to signing; he was replaced by Mick Avory, who brought jazz experience and had briefly played with the Rolling Stones.

To establish a unique identity for promotional purposes, the Ravens adopted the name the Kinks. The origin of this name varies: manager Wace credited a friend's idea for its shock appeal; Larry Page associated it with their "kinky" fashion style; Ray Davies admitted he disliked the name but accepted its marketing advantages.

Initial Phase (1964–1965)

The Kinks’ debut single was a rendition of Little Richard's "Long Tall Sally", featuring drummer Bobby Graham, who also contributed to early hits like "You Really Got Me" and "Tired of Waiting for You". Released in February 1964, this single did not chart. Their following release "You Still Want Me" also failed commercially, prompting Pye Records to threaten contract termination unless their third single succeeded.

Ray Davies penned "You Really Got Me", drawing inspiration from American blues and the Kingsmen's "Louie Louie". The track was initially recorded at Pye Studios in June 1964 but dissatisfied with the result, Davies insisted on re-recording it at IBC Studios in July, financing the session himself along with managers Collins and Wace. Released in August 1964 with support from television appearances and pirate radio stations, it reached number one on UK charts and climbed to number seven in the US after Reprise Records hastily imported it under executive Mo Ostin. The song’s signature distorted guitar tone was achieved by Dave Davies cutting his amplifier’s speaker cone. This track laid the groundwork for hard rock and heavy metal genres and influenced American garage rock bands.

Following this breakthrough, they produced their debut album Kinks, released in October 1964, which peaked at number four in the UK charts. Their next single "All Day and All of the Night" reached number two in the UK and number seven in the US. Additional singles such as "Tired of Waiting for You" topped UK charts, solidifying their commercial standing.

In early 1965, the Kinks toured Australia and New Zealand alongside Manfred Mann and the Honeycombs and headlined tours featuring acts like the Yardbirds. However, internal conflicts emerged, culminating in a violent confrontation between Avory and Dave Davies during a May 1965 performance that required medical intervention for Davies.

After touring the US mid-1965, the American Federation of Musicians imposed a four-year ban on the Kinks performing in America, restricting access to a vital market during the British Invasion period. This ban was largely attributed to their unruly conduct, including an incident during a television taping involving anti-British comments and physical altercations.

During a stopover in Bombay on their Asian tour, Ray Davies composed "See My Friends", released in July 1965. This pioneering crossover piece incorporated Indian raga influences inspired by local fishermen’s chants. It influenced contemporaries such as Pete Townshend and reportedly affected The Beatles’ use of sitar sounds. Although it reached number 10 in the UK charts, it stalled at 111 in the US.

Shortly after returning from Asia, they recorded Kinda Kinks, which was released quickly despite containing mostly original compositions. Ray Davies later expressed dissatisfaction with its hurried production and mixing quality under producer Shel Talmy.

By late 1965, their musical direction shifted with singles like "A Well Respected Man" and "Dedicated Follower of Fashion" along with their third album The Kink Kontroversy. Keyboardist Nicky Hopkins made his first appearance as a session musician. These works signaled Ray Davies’ transition from hard rock toward socially conscious songwriting featuring distinctly English character studies.

Critical success (1966–1972)

The satirical track "Sunny Afternoon" emerged as the leading UK chart-topper during the summer of 1966, overtaking the Beatles' "Paperback Writer". Prior to launching The Kink Kontroversy, Ray Davies experienced significant mental and physical strain due to touring demands and legal complications. During his recovery, he composed new material and reevaluated the band's artistic path. In June 1966, bassist Pete Quaife suffered injuries in a car crash, prompting John Dalton to step in temporarily; Dalton became the permanent replacement when Quaife initially departed. Quaife returned in November 1966, with Dalton resuming his former position.

Serving as a preview for their forthcoming album Face to Face, "Sunny Afternoon" highlighted Davies' evolving talent for blending melodically soft music with incisive lyrics about everyday experiences. Keyboard contributions from session musician Nicky Hopkins appeared on this and later albums until he joined the Jeff Beck Group in 1968. Released in October 1966 in the UK, Face to Face reached number 8 on the charts and was anticipated to perform well in the US but only attained position 135, signaling a decline in American popularity.

In November 1966, the single "Dead End Street" secured another UK Top 10 placement but stalled at number 73 stateside. Acclaimed for its lyrical content and production quality, it featured one of the band’s earliest promotional videos filmed on London’s Little Green Street. Both "Dead End Street" and its B-side "Big Black Smoke" were recorded with Dalton on bass, although Quaife appeared in the video following his return.

Released in May 1967, "Waterloo Sunset" depicts a couple crossing a bridge while reflecting on London life. Rumors suggested inspiration from actors Terence Stamp and Julie Christie, but Ray Davies refuted this, attributing it instead to a personal vision involving his sister’s emigration. The recording session extended over ten hours; Dave Davies emphasized their innovative guitar tone that attracted admiration from contemporaries such as Steve Marriott of Small Faces. The single climbed to number two on Melody Maker’’s chart and is regarded as one of their most celebrated works. Critics like Robert Christgau hailed it as "the most beautiful song in the English language," while AllMusic's Stephen Thomas Erlewine considered it "possibly the most beautiful song of the rock and roll era." Ray Davies performed this piece during the closing ceremony of the 2012 London Olympics.

The 1967 album Something Else by the Kinks built upon Face to Face by incorporating elements of English music hall tradition. Dave Davies achieved solo UK chart success with "Death of a Clown", co-written with Ray but released under his own name. Despite this, overall album sales were underwhelming, prompting a swift follow-up single, "Autumn Almanac", which reached the UK top five—part of an impressive run where 12 out of 13 singles entered the top ten. However, critics began pointing out repetitive songwriting patterns alongside diminishing public enthusiasm. Dave’s second solo effort "Susannah's Still Alive" experienced moderate sales but failed to break into the top ten. By year-end, the band’s popularity was waning.

Starting in early 1968, the Kinks largely ceased live performances to concentrate on studio recordings; lacking promotional support, their releases struggled commercially. The spring 1968 single "Wonderboy" stalled at number 36—their first failure to reach outside the UK top twenty since early covers. Despite declining popularity, Davies remained committed to his unique songwriting approach while resisting commercial pressures; studio sessions focused on developing his Village Green concept. Management organized an April package tour headlined by Peter Frampton’s Herd; venues were mainly cabaret settings with limited audience interest for the Kinks. This demanding tour further impacted band morale.

In June 1968, the single "Days" signaled a brief resurgence by reaching number 12 in the UK and entering top-20 charts elsewhere but failing commercially in the US. The song's emotional depth was acknowledged by Davies himself.

The Village Green project evolved into The Kinks Are the Village Green Preservation Society, released late 1968 in the UK as a collection of thematic vignettes portraying English life compiled over two years. It earned critical praise both domestically and abroad but sold poorly—partly due to lacking a strong hit single; "Days" was excluded and North American release "Starstruck" failed commercially. Nonetheless, it gained cult status within underground US rock circles after its January 1969 release; Robert Christgau described it as "the best album of the year so far." Some critiques noted an alleged lack of imagination. Initial worldwide sales were modest (approximately 100,000) but it eventually became their best-selling original album through reissues and commercial use of tracks like "Picture Book".

In early 1969, Quaife permanently departed after forming Maple Oak without informing his bandmates. His final recordings included non-album single "Plastic Man". John Dalton rejoined shortly thereafter and remained until 1976's Sleepwalker.

Ray Davies traveled to Los Angeles in April 1969 to negotiate lifting an American Federation of Musicians ban that had prevented US tours—this enabled their planned North American comeback amid challenges with promoters and attendance despite performing at major venues such as Fillmore East and Whisky a Go Go.

Keyboardist John Gosling joined in early 1970; prior keyboard duties had been primarily managed by Nicky Hopkins and Ray Davies himself. Gosling made his debut on "Lola" in May 1970—a track addressing themes of gender ambiguity that became a top-10 hit both in the UK and US, revitalizing public interest. Due to BBC restrictions against commercial references like "Coca-Cola," lyrics were modified to "cherry cola," although live renditions retained original wording. The November 1970 album Lola Versus Powerman and the Moneygoround, Part One received critical acclaim and commercial success—achieving their best US chart position since the mid-60s.

Following this achievement, they released Percy in 1971—a predominantly instrumental soundtrack for a film about a penis transplant—which was poorly received; Reprise Records declined its US release leading to disputes that contributed to their departure from that label. Their contracts with Pye and Reprise expired soon after.

Before year-end 1971, they secured a five-album contract with RCA Records including a million-dollar advance used to build their Konk recording studio. Their RCA debut Muswell Hillbillies incorporated music hall influences alongside American genres such as country and bluegrass; though less commercially successful than earlier works—it peaked at number 48 on Record World and number 100 on Billboard—it is often regarded as their final significant record featuring themes centered around working-class life and childhood reminiscences.

In 1972 they issued double album Everybody's in Show-Biz, combining studio tracks with live recordings from Carnegie Hall performances. It included notable songs such as "Celluloid Heroes", reflecting nostalgically on fading Hollywood icons, and Caribbean-inspired "Supersonic Rocket Ship", which became their last UK top-20 single for over ten years. The album achieved moderate success in the US—reaching number 47 on Record World and number 70 on Billboard—and marked their shift toward theatrical rock shows that would dominate their output over the following four years.

Theatrical Phase (1973–1976)

In 1973, Ray Davies adopted a theatrical concept with the rock opera Preservation, building upon the themes introduced in Village Green Preservation Society. The Kinks expanded their lineup by adding a horn section and female backing vocalists, effectively transforming the group into a performance ensemble.

This era was marked by personal difficulties for Davies; after his wife departed in June 1973, he experienced depression and announced his retirement during a July concert. A subsequent drug overdose led to hospitalization, prompting discussions about Dave Davies potentially taking over leadership of the band. Although Ray recovered, the band's creative output became inconsistent and their popularity waned. Bassist John Dalton remarked that Ray had become "a different person ever since."

The albums Preservation Act 1 (1973) and Preservation Act 2 (1974) were met with largely negative critical reception. These records introduced characters such as Mr Flash and Mr Black, with Act 2 being the first project recorded at Konk Studio, where Ray assumed production responsibilities. In late 1974, the band embarked on an ambitious American tour, adapting Preservation for the stage by incorporating a larger cast of costumed actors and musicians, which resulted in a more polished and engaging live show.

During this period, Davies also created a Granada Television musical titled Starmaker, which evolved into the concept album The Kinks Present a Soap Opera (1975). This work explored the narrative of a rock star swapping lives with an average worker. In August 1975, the Kinks released their final theatrical album, Schoolboys in Disgrace, which served as a prequel to the character Mr Flash from Preservation. This album achieved moderate success, reaching number 45 on the Billboard charts.

Return to Commercial Success (1977–1985)

Following the conclusion of their contract with RCA, the Kinks signed with Arista Records in 1976. Under Arista's guidance, they streamlined into a five-piece arena rock group. During sessions for their first Arista album, John Dalton departed; Andy Pyle completed the recording and joined the subsequent tour. The 1977 release Sleepwalker marked a commercial revival, peaking at number 21 on the Billboard chart. Afterward, both Pyle and keyboardist John Gosling left following the recording of their next album. Released in May 1978, Misfits included the US top-40 hit "A Rock 'n' Roll Fantasy" along with "Father Christmas", which remains a perennial favorite during holiday radio rotations. For touring purposes, Jim Rodford (formerly of Argent) and Gordon John Edwards (ex-Pretty Things) joined; Edwards soon exited, and 1979's Low Budget was recorded as a quartet. Ian Gibbons then became a permanent keyboardist. Despite these lineup changes, the band's popularity continued to rise.

Interest in the Kinks' catalog was rejuvenated in the late 1970s due to covers by bands such as The Jam, The Pretenders, The Romantics, and The Knack. Van Halen’s 1978 rendition of "You Really Got Me" became a US top-40 hit that further boosted Kinks' resurgence. The hard rock direction of Low Budget earned it their second gold album status and represented their highest-charting original US release at number 11. Their 1980 live album One for the Road along with its video captured their peak live performance appeal through to 1983. Riding this wave of success, Dave Davies released solo efforts: Dave Davies (1980) and Glamour (1981), though these saw limited commercial impact.

Late in 1981, Give the People What They Want reached number 15 in the US and went gold, featuring UK charting "Better Things" and mainstream rock hits like "Destroyer". The band toured extensively throughout 1982 with numerous sold-out concerts worldwide, culminating in a performance at California’s US Festival before an audience of 205,000. In spring 1983, "Come Dancing" became their most successful US single since "Tired of Waiting for You", peaking at number six on US charts and number 12 in the UK—their first UK top-20 hit since 1972. The accompanying album State of Confusion performed well commercially in America but failed to chart in Britain. Another single from this record, "Don't Forget to Dance", reached the US top-30.

While State of Confusion maintained their renewed popularity phase, it also signaled an onset of decline affecting peers such as the Rolling Stones and the Who. Toward late 1983, Ray Davies pursued an ambitious solo film project titled Return to Waterloo, depicting a commuter’s troubled daydreams; it featured actor Tim Roth. This endeavor strained his relationship with brother Dave and coincided with personal challenges including his breakup with Chrissie Hynde. Persistent conflicts between Dave Davies and drummer Mick Avory resurfaced; Dave refused to collaborate with Avory any longer and pushed for Bob Henrit (ex-Argent) as his replacement. Henrit joined following Avory’s departure; Avory shifted focus to managing Konk Studios while remaining active in production roles.

Between finishing work on Return to Waterloo and Avory’s exit, recording began on Word of Mouth, released in November 1984 as their final Arista album. Avory performed on three tracks; Henrit and drum machines handled others. Numerous songs overlapped with Ray Davies’ solo soundtrack for Return to Waterloo. The lead single "Do It Again" peaked at number 41 on US charts—marking their last appearance on the Billboard Hot 100. Coinciding with this release were three significant biographies: Jon Savage's The Kinks: The Official Biography, John Mendelsohn's The Kinks Kronikles, and Johnny Rogan's The Kinks – The Sound and the Fury.

Decline in Popularity and Fragmentation (1986–1997)

At the beginning of 1986, the Kinks entered into agreements with MCA Records for the US market and London Records in the UK. Their initial release under these labels, Think Visual, came out later that year and reached number 81 on the Billboard albums chart. Tracks such as the ballad "Lost and Found" and "Working at the Factory" explored themes related to working-class experiences, while the album's title track offered a critique of MTV's video culture. The following year, they issued the live album The Road, which achieved only modest commercial and critical reception. In 1989, UK Jive failed commercially, briefly appearing at number 122 on the US charts. Subsequently, MCA Records ended their 25-year partnership with the band. During this period, keyboardist Ian Gibbons departed and was succeeded by Mark Haley.

In 1990, the Kinks were inducted into the Rock and Roll Hall of Fame, with Mick Avory and Pete Quaife representing the group. Despite this honor, their career momentum did not improve. To satisfy contractual terms, a compilation titled Lost & Found (1986–1989) was released in 1991, marking their final release under MCA.

After signing with Columbia Records, they issued a five-track EP called Did Ya in 1991; its lead single reached number 48 on the US Mainstream Rock chart. Returning to a quartet lineup for their debut Columbia album, Phobia (1993), they played a sold-out show at Royal Albert Hall. Following this performance, Haley exited and Gibbons rejoined for a subsequent US tour. Phobia charted for only one week on the US Billboard at number 166 and did not enter UK charts. Singles such as "Only a Dream" and "Scattered" received minimal promotion and were difficult to find commercially. Columbia dropped the band in 1994.

Operating without major label backing, the Kinks released To the Bone on their own Konk label in 1994. This live acoustic album featured recordings from successful UK tours alongside studio sessions performed before a small audience. A more extensive US double-CD edition appeared in 1996, including two new studio tracks as well as reimagined versions of classic songs. Despite favorable reviews, it failed to chart.

During the mid-1990s Britpop surge—when many leading bands cited the Kinks as an influence—the group’s commercial success waned and their activities diminished as Ray and Dave Davies embarked on solo ventures. Ray published his autobiography X-Ray in 1995; Dave followed with his memoir Kink in 1996. The Kinks’ final live appearance occurred in mid-1996, followed by a last reunion at Dave’s 50th birthday celebration held at the Clissold Arms pub, symbolically near their childhood neighborhood in North London.

Solo Endeavors and Honors (1998–2017)

After entering a hiatus, both Davies brothers pursued individual careers with solo album releases. Although discussions about reuniting surfaced—including a brief studio session in 1999—neither Ray nor Dave actively sought to reform the band. Meanwhile, former members John Gosling, John Dalton, and Mick Avory regrouped in 1994 to perform oldies shows under the name the Kast Off Kinks, joined by guitarist and vocalist Dave Clarke.

In 1998, Ray Davies released Storyteller, an album that complemented his autobiography X-Ray. Initially conceived as a cabaret-style performance, this work reflected on his musical journey and relationship with Dave. This concept inspired VH1 to create its VH1 Storytellers series showcasing established rock artists. By early 2003, with the band's 40th anniversary approaching, Dave indicated openness to a reunion; both brothers expressed interest. However, these plans were interrupted when Dave suffered a stroke in June 2004 that temporarily impaired his speech and guitar skills.

Following his recovery, all four original members attended the Kinks’ induction into the UK Music Hall of Fame in November 2005. This accolade led to renewed interest; notably, in August 2007, The Ultimate Collection, spanning their entire career, re-entered the UK Top 100 albums at number 32 and topped the UK Indie chart.

Several notable former members passed away during this era: bassist Pete Quaife died in June 2010 after years of kidney dialysis; long-serving bassist Jim Rodford passed away at age 76 in 2018; keyboardist Ian Gibbons succumbed to cancer in 2019; and John Gosling died in August 2023 at age 75.

Unsuccessful Reunion Efforts (2018–Present)

In June 2018, the Davies siblings revealed they were collaborating with Avory on a new Kinks studio project. By July 2019, the group reaffirmed their work on fresh material. Nevertheless, in a December 2020 interview, Ray Davies mentioned minimal advancement, expressing, "I’d like to collaborate with Dave again—if he’s willing." In January 2021, Dave Davies confirmed ongoing discussions about a potential reunion, highlighting the wealth of available material and the chance that it might still occur.

By March 2023, Avory dismissed speculation about a reunion, attributing this to the Davies brothers’ differing visions and health concerns. He clarified that Ray imagined an "evolution tour" incorporating various former members and songs, whereas Dave favored reassembling a classic band lineup without Avory, illustrating their contrasting reunion perspectives.

Live Performances

The Ray Davies Quartet, which later became the Kinks, debuted live at a school dance in 1962. Between 1962 and 1963, the band operated under several names—including Pete Quaife Band, Bo-Weevils, Ramrods, and Ravens—before officially adopting the name the Kinks in early 1964. Ray Davies has pinpointed a Valentine's Day 1963 concert at Hornsey Town Hall as the group's true genesis.

In January 1965, the Kinks toured Australia and New Zealand as part of a package featuring Manfred Mann and the Honeycombs. Throughout 1965, they headlined various package tours alongside acts such as the Yardbirds and Mickey Finn. Internal friction emerged notably during a May 1965 performance in Cardiff when drummer Mick Avory and guitarist Dave Davies engaged in an onstage altercation. After Dave insulted Avory and toppled his drum kit, Avory retaliated by striking him with a hi-hat stand, causing serious injury. Avory later claimed this incident was staged to appease authorities. Following their 1965 US tour, the American Federation of Musicians imposed a four-year ban on the Kinks performing in America, likely due to their disruptive conduct.

Ray Davies played a role in lifting the US ban in April 1969, paving the way for a North American tour. However, personal difficulties affected him in subsequent years—including a failing marriage and depression. During a 1973 concert at London's White City Stadium, he openly voiced frustration with the band by stating he was "sick of it all." Management intervened to prevent him from announcing the band's breakup by cutting off his microphone.

Musical Style

Jeff Mezydlo of Yardbarker describes the Kinks as blending the "pop-rock essence of the British invasion with a blues undertone." Initially rooted in popular R&B and blues genres, they evolved toward louder rock and hard rock influences inspired by the Kingsmen’s "Louie Louie." Often referred to as "the original punks," Dave Davies crafted their signature guitar tone by modifying a compact Elpico amplifier, producing the gritty sound heard on tracks like "You Really Got Me" and "All Day and All of the Night."

From 1966 onward, the Kinks emphasized English musical heritage during an era when many British groups favored American blues, R&B, and pop styles. Ray Davies shifted toward more introspective lyrics with songs such as "A Well Respected Man" while embracing his native accent. Their focus on English influences was reinforced by restrictions from the American Federation of Musicians, which limited access to the US market and redirected attention toward Britain and continental Europe. The band incorporated elements from music hall, folk, and baroque traditions using instruments like harpsichord, acoustic guitar, Mellotron, and horns on landmark albums including Face to Face, Something Else by the Kinks, The Kinks Are the Village Green Preservation Society, and Arthur (Or the Decline and Fall of the British Empire).

Beginning with Everybody's in Show-biz (1972), Ray Davies delved into theatrical themes on albums such as Preservation Act 1 (1973) and Schoolboys in Disgrace (1976). These concept records experienced diminished commercial success, prompting their exit from RCA Corporation. After signing with Arista Records in 1977, they embraced a more conventional rock approach. The release of Sleepwalker (1977) marked their return to commercial prominence through mainstream production values. They revisited hard rock on Low Budget (1979) and continued this style into subsequent releases while integrating pop elements during the 1980s with albums like Give the People What They Want, which featured tracks such as "Better Things".

Legacy

The Kinks are widely acknowledged as one of the most pivotal rock bands from the 1960s and early 1970s. Stephen Thomas Erlewine referred to them as "among the most impactful groups of the British Invasion." They secured the 65th position on Rolling Stone magazine's "100 Greatest Artists of All Time."

Their impact extends across various genres, influencing punk rock acts such as the Ramones, the Clash, Blondie, and the Jam; heavy metal bands like Van Halen; and Britpop groups including Oasis and Blur. Craig Nicholls from the Vines praised the Kinks as "exceptional songwriters who have not received enough recognition." Pete Townshend of the Who attributed to Ray Davies the creation of "a novel form of poetry and a fresh language for pop songwriting." Additionally, the band left their mark on late-1960s American psychedelic rock artists like the Doors, Love, and Jefferson Airplane. Music scholar Joe Harrington highlighted that tracks such as "You Really Got Me" and "All Day and All of the Night" played a crucial role in defining the three-chord style and advancing rock 'n' roll into rock music. Brian May, guitarist for Queen, acknowledged the Kinks for sowing "the seed that blossomed into riff-centered music."

Two albums by the group, The Kinks Are the Village Green Preservation Society (ranked No. 384) and Something Else by the Kinks (No. 478), were listed in Rolling Stone's 2020 compilation of the 500 Greatest Albums of All Time. Moreover, three of their songs were included in Rolling Stone's 2021 list of the 500 Greatest Songs of All Time: "Waterloo Sunset" (No. 14), "You Really Got Me" (No. 176), and "Lola" (No. 386).

A stage musical titled Sunny Afternoon, inspired by Ray Davies' formative years and the band's origins, debuted at Hampstead Theatre in April 2014. Named after their 1966 hit "Sunny Afternoon," it showcases selections from their extensive song catalogue.

In 2015, Julien Temple was announced as director for a biopic named You Really Got Me, yet by 2021, this film had not advanced beyond initial stages. Temple had previously directed a documentary focused on Ray Davies entitled Imaginary Man.

Members

Former members

• Ray Davies – lead and backing vocals, rhythm guitar, keyboards, harmonica (1963–1997)
• Dave Davies – lead guitar, backing and lead vocals, occasional keyboards (1963–1997)
• Mick Avory – drums, percussion (1963–1984)
• Pete Quaife – bass guitar, backing vocals (1963–1966, 1966–1969; deceased 2010)
• John Dalton – bass guitar, backing vocals (1966, 1969–1976)
• John Gosling – keyboards, piano, backing vocals (1970–1978; deceased 2023)
• Andy Pyle – bass guitar (1976–1978)
• Jim Rodford – bass guitar, backing vocals (1978–1997; deceased 2018)
• Gordon John Edwards – keyboards, piano, backing vocals (1978–1979; deceased 2003)
• Ian Gibbons – keyboards, piano, backing vocals (1979–1989, 1993–1997; deceased 2019)
• Bob Henrit – drums, percussion (1984–1997)
• Mark Haley – keyboards, piano, backing vocals (1989–1993)

Key contributors on major albums

• Rasa Davies – backing vocals spanning from Kinks (1964) through to The Kinks Are the Village Green Preservation Society (1968)
• Bobby Graham – drums on selected early album tracks (deceased 2009)
• Nicky Hopkins – keyboard performances from The Kink Kontroversy (1965) to Village Green (1968) (deceased 1994)
• Clem Cattini – drums on various tracks and overdubs
• Alan Holmes – saxophone and clarinet contributions between Muswell Hillbillies (1971) and Schoolboys in Disgrace (1975), as well as on "Come Dancing" from State of Confusion (1983) (deceased 2022)

Discography

Between 1963 and 1996, The Kinks produced twenty-four studio albums alongside four live recordings. Initially, album releases in the UK and US varied, reflecting differing preferences for singles and extended plays; however, from the release of The Kink Kontroversy (1965) onward, a uniform approach was adopted. Globally, their discography has been supplemented by over 100 compilation albums. Their repertoire features three singles that reached number one on the UK charts, beginning with the 1964 hit "You Really Got Me," along with eighteen top 40 UK singles during the 1960s and further chart successes extending into the 1980s.

In the United States, The Kinks secured five singles within the Billboard top 10 and placed nine albums in the top 40. Meanwhile, in the UK, they attained seventeen singles in the top 20 and five albums in the top 10. The Recording Industry Association of America (RIAA) awarded gold certifications to four of their albums: The Kinks Greatest Hits! (1965), which reached one million sales by 1968; Low Budget (1979); the live album One for the Road (1980); and Give the People What They Want (1981). Although initially not a commercial success, The Kinks Are the Village Green Preservation Society eventually received a UK gold certification in 2018 for surpassing 100,000 sales. Additionally, ASCAP named "Come Dancing" among the most frequently played songs of 1983.

Studio albums

• Kinks (1964)
• Kinda Kinks (1965)
• The Kink Kontroversy (1965)
• Face to Face (1966)
• Something Else by the Kinks (1967)
• The Kinks Are the Village Green Preservation Society (1968)
• Arthur (Or the Decline and Fall of the British Empire) (1969)
• Lola Versus Powerman and the Moneygoround, Part One (1970)
• Percy (1971)
• Muswell Hillbillies (1971)
• Everybody's in Show-Biz (1972)
• Preservation Act 1 (1973)
• Preservation Act 2 (1974)
• Soap Opera (1975)
• Schoolboys in Disgrace (1975)
• Sleepwalker (1977)
• Misfits (1978)
• Low Budget (1979)
• Give the People What They Want (1981)
• State of Confusion (1983)
• Word of Mouth (1984)
• Think Visual (1986)
• UK Jive (1989)
• Phobia (1993)

Live albums

• Live at Kelvin Hall (1967)
• One for the Road (1980)
• Live: The Road (1988)
• To the Bone (1994)
• BBC Sessions: 1964–1977 (2001)

See also

• Do It Again, documentary released in 2009
• Freakbeat
• Swinging London