Ray Davies
Americana

I was an early bloomer in everything as a kid, but with the Kinks I came late, very bad. Strange because the major bands of the "British Invasion" were part of my primordial listens, but they were culpably forgotten. To me, the Davies brothers' band was only related to the original "You Really Got Me," which I knew by heart because of the Van Halen cover (come on, they're flashy, but the debut album is amazing). In short, I never paid attention to them. Then my older friend, in an age sense (yes, the same one with Zeppelin and others, my "musical" mentor) gave me "Arthur" with an attached notebook made by him; "You have to know this band, but you also have to read the lyrics, they are essential, I've translated them for you (with a slightly veiled 'Goat'!)... "But come on, you know I have no patience and I don't give a damn about the lyrics, I'm interested in the adrenaline of music," replied, more or less the "Goat." Anyway, trusting him, I went to my newly rented mini and listened to the record; first reaction "what kind of music has he given me?" More "Goat"... a couple of nights later, I played it again, and I remember the completely opposite effect; the sound of these was entering the soul of the ruminant mammal. By the fourth/fifth listen, I was sure it was one of my favorite albums of all time (I already had ten musical years behind me, so it wasn't a small thing). There was a small problem... I didn't know why! It wasn't my kind of music! It was strange music, I didn't know how to describe it! But, to tell the truth, I didn't care. I had entered Ray Davies' world, the older brother, the author of all this wonder I was listening to (and whose lyrics I also enjoyed). The next step was to get all their albums (precisely up to Preservation).

Ray's world is unique and peculiar. Logically, they would have continued with their raw and angry rock or moved to the psychedelic sound of the period, but Ray had to go further, he had many stories to tell and with different types of music. This is why the lyrics are important. Davies tells us the stories of the English working-class man, of daily life, of people not accepted by public morals, ridicules the life of stars, attacks the music business and those who pull the strings. All with great sarcasm and classic British humor, which, however, cannot hide sadness and dissatisfaction. How happiness was achieved, with little, in other times and how now the British Empire had devastated the lives of ordinary people. The music changes completely; no more hard and aggressive rock, instead a series of light but complex melodies from which Ray’s love for niche genres such as vaudeville and music hall, theater music, jazz emerges. Add blues, rock'n'roll, and country, and what comes out are absolutely unique tracks, all different and special. Splendid and real slices of life and incredible music; this is our Ray, our true and only Storyteller.

All this brings flattering reviews but little success and money after the United States Musical Federation had already stifled their rise by cutting them out of the British Invasion, preventing them from playing in the States for four years for ridiculous and never well-explained reasons.

I never followed Ray's solo career, I didn't even know if he had done anything, but while reading about albums being released, I came across this "Americana" and, reading the snippet, I discover it's his sixth solo album! Like a child who has done a prank and wants to apologize to his parents, I immediately buy it so I can feel less guilty right away.

I like the story. Our (ex) London boy from Muswell Hill tells us about over fifty years of life, of his relationship with the United States. A conflicting story, from the years when the Kinks were treated like outcasts just as they were taking off, to the seventies when they conquered America and in which they obviously lived unrepeatable moments. Over time it became his second home; he lived in both New York and New Orleans, and probably the bad episode has been (almost) removed. He tells us of his childhood dreams towards those mythical and distant lands, of the incredible landscapes, of imagining a dream life in Los Angeles, not forgetting all the mess during the tours. Ray is calmer and more relaxed, at 73 years old he can remember everything without the adrenaline and (albeit wonderful) stubbornness of the past and with greater wisdom. He certainly does not forget, indeed he highlights, his opinion on the capitalist system in general and particularly American, on its negative effects on the lives of "normal" people, especially in taking away every little dream and every crumb of poetry.

A story, a "final" dedication to all that has been, down to small and precise memories like that of an afternoon with his friend Alex Chilton talking about music and watching a black and white western film. The love-hate relationship with the brother, let's leave it alone, it would deserve a specific book!

I also like the music. Let's be clear, it's not an album similar to those of the Kinks. Even musically it is much more American; a considered and wanted choice, I think, since to accompany him he called the alternative rock band from Minneapolis, the Jayhawks (I went to verify, I had never heard of them, of course!), who magnificently accompany Davies in his storytelling. A mix of typical rock/country/folk, west coast atmospheres, a couple of classic ballads. "The Deal" and "I've Heard That Beat Before" are the two most particular tracks, more seventies, more Kinks style, in my opinion obviously the most beautiful; but also "Rock'n'Roll Cowboys" and "Change for Change" deserve a particular mention. There's even a nod to the glorious riff of "All Day And All Of The Night" to remember the good old tough beginnings.

Finally, the voice... Ray's voice is beautiful, now even more so; I’m not talking about extensions or vocal techniques, I’m talking about heart and passion. Ray has plenty of it.

Enjoy listening.