[Updated December 15th 2000]
The following are various articles on Dave
appearing in magazines and newspapers throughout the years.
|Dave Davies - Club Caprice - 10/8/98 - By John Lappen - Hollywood Reporter - October 12, 1998|
|Nothing like sibling rivalry to bring out the best in the Davies
brothers. Younger bro Dave is busy proving that anything big brother Ray is doing
these days he can do to. Write a book on what it's like to be a Kink? No problem.
Ray has written a couple of volumes and Dave followed up with his own tome about
life in this legendary Hall of Fame band.
A solo tour? Continuing right on the heels of Ray's "Storyteller" shows, Dave has decided to dust off his Fenders and rock clubland. And judging from his wildly received South Bay appearance, this is a very good idea.
Backed by a young, nerdy four-piece that obviously worships at the Kinks altar, an enthusiastic Dave Davies rocked through a nearly two-hour set that showed him to be in fine form. Always the Kinks' rock 'n' roll heart, Dave never met a big, loud chord he didn't like. And, to the surprise of many, he did not perform the two songs most associated with his monstrous riffing; namely "All Day and All of the Night" and, of course, "You Really Got Me."
A minor quibble, however. What really made this show special was the musical nuggets, many obscure and rarely played live, that Dave unearthed for the large contingent of Kinks fans in the house. As Davies exclaimed near show's end, "I'm playing you many of my favorite Kinks songs. I hope you like it ... but if you don't that's too bad." No problem Dave; we liked it.
Sprinkled liberally throughout the set were some serious Kinks rarities, particularly from the Kinks Katalog circa 1965-71. Heard "Picture Book" or "Young and Innocent Days" played lately? How about "Too Much on My Mind" or the yearning "Strangers"?
Throw in a couple of numbers from the "Arthur" album and the poignant English whimsy of "Village Green Preservation Society" and you get an idea of how deep into the Kinks vaults Davies tunneled.
Who knows when the Davies brothers will go out as the Kinks again? They probably don't even know. In the meantime, little brother is doing the family name proud all by his lonesome.
©1998 - The Hollywood Reporter
|Dave Davies - Scoring The Clubs - By Dan Epstein - LA Weekly - June 5-11, 1998|
|You don't need to be slightly off your nut to be a rock star, but it certainly helps. Take Kink, the recent autobiography of founding Kinks guitarist Dave Davies, for example. An impossible to put down tale of drinks, drugs and sexual experimentation, with cameo appearances by characters real, hallucinated and extraterrestrial, it's nothing less than you'd expect from the man who came up with the crazed guitar solo to "You Really Got Me." These days, "Dave the Rave" has calmed down, but his guitar playing remains just as ferocious. With the Kinks in limbo, Davies has spent the last year crisscrossing the country with a small backing combo (including local cats Jim Laspesa and Dave Jenkins), playing revved-up versions of classics like "I'm Not Like Everybody Else," "Love Me Till The Sun Shines" and the inevitable "You Really Got Me" to delighted Kinks fans everywhere. his new stuff isn't bad, either (much better than, say, "Rock and Roll Cities"), and he seems to be having the time of his life onstage.|
©1998 - LA Weekly
|Dave Davies - Bottom Line - By Richard Skanse - Rolling Stone - June 5, 1998|
|In the last year, Rock & Roll Hall-of-Famer and Kinks guitarist
Dave Davies has played New York's Bottom Line nearly half a dozen times. With little
variation in material, he rips through two sets of klassic Kinks and obscure solo
cuts to the same fanatical group of die-hard Kinkophiles -- the selfsame group who
also return again and again to older brother Ray's own "Storyteller" show.
Every one of them would no doubt sacrifice an appendage to see the infamously feuding
brothers share the stage again for a legitimate Kinks gig, but brothers will be brothers,
Kinks will be Kinks, and their fans have by now learned to accept their fix in half
doses: a hit of Ray for sly wit and an enlightening, narrated look through the Kinks'
back pages, followed by a bit of Dave the Rave to get your rocks off.
The last time Dave came to town, though, less than a month ago, he seemed to skimp a bit on his part of the bargain. Kultists no doubt went home satisfied - hell, he even dragged the Kinks' original bassist, Peter Quaife, on stage for the encore; but to the slightly less forgiving Kinks fan, the band's lazy performance and Davies' going through the motions guitar work hardly made for a memorable show. Surely this man, who revolutionized rock & roll as we know it with his frantic, distorted and brilliantly sloppy guitar solo on "You Really Got Me" thirty-four years ago had more left in him than *that*. Doesn't he?
Of course he does. Davies came out swinging tonight, leading his young, three-piece band through ecstatic, pummeling versions of "Till the End of the Day" and "I Need You." "She's Got Everything," kicked along with punkish tenacity by drummer Jim Laspesa's (The Muffs) staccato hammering, pushed the intensity level even higher. And Davies kept the excitement alive for nearly every minute of his seventeen-song set. That he did so without ever playing his best-known, self-penned Kinks hit, "Death of a Clown," was testimony that Davies not only still has the proverbial goods but the ornery, "I'm Not Like Everybody Else" attitude worthy of the Kinks' name.
Then again, no self-respecting Kinkophile would come to a Dave Davies show (or even a Kinks show, for that matter) to hear the hits. The more obscure, the better, and Davies never disappoints in that respect. Would there be room in a full-fledged Kinks show to allow Dave to indulge in the likes of "Creeping Jean," a dusty, clumsy and almost metallic in a Blue Oyster Cult sort-of-way stomper, or the achingly lovely "Hold My Hand," an early draft of his own "Strangers," or even a promising new anthem like "Unfinished Business"?
Most likely not. In lieu of "Death of a Clown," however, Ray would surely have to allow his kid brother time for either "Living on a Thin Line" or "Susannah's Still Alive," his moving paean to a childhood sweetheart. Give Dave his own stage, though, and he gives his own material free rein. Ray's compositions aren't forsaken, of course, even the snootiest Kinks fan needs to hear "You Really Got Me", but on a night like tonight, when everything is working, Dave makes them his own. The standing ovation that came after an extended, menacing and utterly convincing "I'm Not Like Everybody Else" was for the singer, not the song.
"This is the part of the show where I read excerpts from my book, Kink," quipped Davies in the quiet after the storm, gently mocking his brother's show (which is heavily based on Ray's "unauthorized autobiography," X-Ray). The joke always goes down well, although the Kinkophiles in the front rows have heard it verbatim at every one of Dave's shows. Out came the acoustic guitar, and with it a fine quartet of subtle gems: two of Ray's finest ("Picture Book" and "Young and Innocent Days") and two of Dave's (1970's "Strangers" and "Love Gets You" from his 1983 solo album, Chosen People) which were just as fine.
He capped the unplugged segment with what is usually (barring tonight's "I'm Not Like Everybody Else") the standout of his show: a new, unrecorded mini-epic called "Fortis Green." For years Dave enthusiasts have pointed to Dave songs ("Death of a Clown," "Strangers") which were "nearly on par with Ray's." "Fortis Green" damn near beats them all. An incestuous marriage of the Beatles' "Strawberry Fields Forever" and "Penny Lane" crashed by the Kinks' "Autumn Almanac," this whimsical nostalgia trip through Dave's childhood could have been a standout track on 1968's Village Green Preservation Society, which is to say, it could have been a classic. Here's hoping Davies just gets around to recording it someday soon ... with or without Ray.
©1998 - Rolling Stone
|Dave Davies Follows Ray Onto The Road - By Jim Sullivan - Boston Globe - June 6, 1998|
|MAYNARD - You're Dave Davies - lead guitarist, but second banana,
in the Kinks - and your big brother and group leader Ray has effectively put the
band on hiatus while he keeps touring small clubs with his "Storyteller'' show,
playing music and reading bits from his ''unauthorized autobiography'' ''X-Ray.''
This has been going on for three years. What do you do?
But, finally, you decide to get off your duff and hit the road with a band. Here's maybe what you say to the crowd, mid set at a packed club, after some full-bore rocking on ''Wicked Annabella'': ''OK, I'm gonna change the mood. This is where I usually read a few extracts from my autobiography `Kink.' It's a bit serious. This is a sophisticated and intellectual audience, so I'm gonna read the whole book in its entirety. (Pause) I think this is a small reprieve - 'cause I've forgotten to bring the book.''
Davies delivered this spiel Thursday at the Sit 'n Bull Pub, packed to its 160 capacity. It was a small jab at Ray, a love tap, really, given the Davies brothers' reign as the Gallagher (Oasis) brothers of their time. Paraphrasing one of the gorgeous songs Dave played early, ''Susannah's Still Alive,'' what he was there to do was prove that, yes,
he's still alive and that he represents a slice of the Kinks, as writer and singer, that is none too shabby.
Sit 'n Bull co-owner/MC/Kinks nut Peter Bochner was in heaven, calling it ''my proudest moment as a club owner.'' When Dave Davies gets his chance during Kinks shows, he'll often opt for the metallic screamers. During this 80-minute set - backed by bassist Dave Jenkins, keyboardist-guitarist Dave Nolte, and drummer Jim Lapesa - the high-voiced Davies presented a much more balanced Kink. There was the self-depreciating ache of ''Love Me Till the Sun Shines '' - ''You don't have to sleep with me,'' etc. - and the nostalgic wince of ''Picture Book,'' a flip through a photo album of old or dead folks who once loved one another, and a time when ''you were a baby, when you were happy ... a long time ago.''
Davies started off with three sure-fire '60s gems, ''Till the End of the Day,'' ''I Need You,'' and ''She's Got Everything,'' where three chords and naive hopes rule. Life and love got more complex as the set went on with ''Tired of Waiting for You,'' ''Strangers,'' ''This Man, He Weeps Tonight, '' and ''Livin' on a Thin Line.'' This last is one of Dave's '80s standouts with its sizzling guitar line, elegiac sweep, and the futile anger of being a pawn of the powerful: ''Does it matter much? Does it ever really matter?''
The spine-tingling highlight was ''I'm Not Like Everybody Else,'' where Davies unleashed his most stinging guitar leads and, arguably, vocals. It's a stirring longtime Kinks-and-fans communal bonding ritual - the Kinks aren't like the Stones, say, and their fans aren't sheep. Yes, there's irony in a roomful of people proclaiming their individuality in unison, but everyone's in on that part of the joke, too.
Davies showcased a couple of new songs - he has a new stuff/best-of disc called ''Unfinished Business'' out on Vel-Vel in late August - and the best of these was ''Fortis Green,'' a pensive, acoustic-based musing played after a rave-up encore of ''All Day and All of the Night.'' In ''Fortis Green,'' Davies wandered down his hometown memory lane - his mum screaming at his drunk dad, but dad taking him fishing; spying on his sisters making out with boyfriends; observing that during the London Blitz there were swinging parties held while the bombs dropped. ''I wish it could be like it was in the old days,'' Davies sang, softly, bombs or not.
Boston's Slide opened with a tasty set of off-kilter, roots-derived rock and was welcomed by the Kinks crowd.
©1998 - Boston Globe
|A Perfect Day for Second Bananas:
Dave Davies's Sidekick Syndrome
by George Kalogerakis - New York Magazine - December 15, 1997
Pity the second banana. Names like Art Garfunkel, Ed McMahon, and Dr. Watson conjure up nothing so much as other names, those of their better-known, more accomplished partners. ("Andrew Ridgeley" conjures up nothing at all. Some bananas are more second than others.) Talented sidekicks have it worse - their relationships are unequal and competitive - and a blood tie really complicates things. So the long-suffering vice-Kink Dave is doubly whammied. (Wham! That's why Ridgeley sounded familiar.)
"Dave is a one-off," Ray Davies once told me genially, discussing the recording-studio habits of his guitarist brother. "He'll get it the first time." Pause; smirk. "Eventually."
That's how it's always gone with the Davies boys-Ray, charming frontman and brilliant songwriter, and Dave, his comparatively underachieving kid sib. They've been at it professionally since 1963, personally a lot longer. A few years ago, they put the Kinks on hiatus.
Ray wrote an ambitious, well-received autobiography and toured, to acclaim, with a disarmingly intimate songs-and-readings act. Dave wrote a memoir disclosing his interest in UFOs.
So even loyalists approached the lesser Kink's Thanksgiving gigs at the Bottom Line - his first New York solo concerts after 30 years as a pop star - with a mixture of affection and dread. Put Dave in front of a band, give him an open mike and plug him in, and anything is possible, not all of it pretty.
But how wrong the skeptics - the older brothers among us - were. Out from under Ray's thumb, Dave played winning, freewheeling, deftly chosen sets. He ignored his middling solo albums, performing instead the best of the stuff he wrote or sang for the Kinks, even dipping generously into brother Ray's catalogue. He was, unaccountably, terrific. The irony: Between Ray's solo shows and now Dave's, Kinks fans get what they craved. No single to hype or album to flog. No smoke, lasers, or "Lola" sing-alongs. Just great songs, dozens of them. The Kinks are dead; long live the Davies brothers.
And long live second bananas. Some delicate equilibrium is upset, some tacit understanding betrayed, when these upstarts have the temerity to step forward. But the experiences can be liberating. Just wait till Beavis starts to feel his oats.
©1997 - New York Magazine
|Dave Davies Stirs Kinks Controversy
By John Swenson - United Press International - Wednesday, December 3, 1997
The Kinks, one of the most prolific and influential groups in rock history, are the product of a rich but troubled creative exchange between two musically gifted brothers, Ray and Dave Davies. Ray, the older of the two, has fronted the band over the years with a combination of his outgoing showmanship and brilliant wit. Dave was always content to stand to the side of the stage, running the band's sound with his outstanding guitar work, and taking the spotlight to sing an occasional song.
The tension between the two brothers has been a source of creative energy over the years, but it has also been an impediment to the group's success.
The Kinks appeared to go on hiatus when Ray Davies wrote a revealing autobiography, "X-Ray," in 1995, then went on a solo tour where he mixed acoustic performances of some of his songs with readings from the book.
Dave countered with his own book, "Kink," in 1997, a lurid and excruciatingly self-revelatory history laced with bitterness about the way the band's affairs were handled. In the book, Dave accuses Ray of stealing songwriting credit to many songs he contributed to and thus robbing him of royalty payments.
In this rancorous atmosphere it appears unlikely that the Kinks will be making a comeback any time soon, but fans of the group in New York were heartened by a recent performance at the Bottom Line by Dave Davies and a hard rocking backing quartet.
Dave can offer no better proof of his claims to authorship of the Kinks sound than his own extraordinary renditions of the classics from the group's extensive catalog.
The Bottom Line stage was outfitted with a dozen guitars before the show, a dead giveaway that Dave intended on rocking out. When the band opened with the crunching riff rock of "I Need You," from the early Kinks release "Kinkdom," followed by the first track on the first Kinks album, a cover of Chuck Berry's "Beautiful Delilah," Dave's assertion of ownership of the Kinks sound was
"Before we even had a band, me and Ray used to play together," explained Dave. "Ray was very much the instrumentalist and I was the rhythm guitarist, but when we formed a band it changed. My playing was more aggressive, and it seemed to fit better when we had drums in the band."
Dave recalled that the creative tensions with his older brother beganearly.
"Ray and I have a special relationship; it's been terrible at times, and yet we are still trying for something. We have the same goal but different methods of getting there. We're both fighting against each other and with each other. It's a fusion of tension that makes something real. Ray is an intellectual person, whereas I'm not, and I've gotten into a lot of emotionan difficulties with people because of that. He's stimulated my intellectual part and I've stimulated his feeling part."
Dave arrived at his distinctive instrumental voice during jam sessions in the family sitting room. He had a little green 10-watt Elpico amplifier whose tinny sound the brothers hated.
He ran the Elpico amplifier's speaker output leads through a Vox AC30 speaker, then slashed the speaker cone of the Elpico to produce the buzzing, distorted sound of "You Really Got Me" and "All Day and All of the Night," the two hits that launched the band's career. The sound evolved into what became known as heavy metal and kicked off a catalog that is one of the deepest, quirkiest and most-covered in rock & roll history.
Dave mined a number of the band's most esoteric early recordings during the Bottom Line show, including the rare singles "She's Got Everything" and "Susannah's Still Alive," anthologized on "The Kink Kronikles," "Wicked Annabella" and "Picture Book" from "The Kinks Are the Village Green
Preservation Society," and several of his best- known compositions for the band "Death of a Clown," from "Something Else," the opening track on "Lola Vs. Powerman and the Moneygoround," "Strangers," and "Livin' On a Thin Line" from "Word Of Mouth."
"I chose Kinks songs that were favorites of mine," Dave told the appreciative crowd, which also knew the even more obscure pieces from Dave's solo albums, including "Imagination's Real" and the title track from his latest release, "Unfinished Business."
Dave took time out during the show to mock his older brother, turning "Lola" into a mishmash of a medley with "The Girl From Ipanema," "Waterloo Sunset," "Strawberry Fields Forever" and "Apeman," then brandishing "Kink" and making as if he was going to read from the book. "It's not as long as some books," he quipped. Or as the relationship between a pair of gifted brothers whose work has done much to make rock & roll what it is today.
© 1997 - United Press International
|Like His Brother, but Much Grittier - By Jon Pareles - The New York Times 1997|
A squawk of feedback was the first sound Dave Davies made in his early set on Saturday night at the Bottom Line. It was deliberate; Mr. Davies was letting listeners know that he was still the noise-loving guitarist who made the Kinks' early-1960's hits the precursors of hard rock to come, with blasts of power chords and careening lead lines.
Mr. Davies's brother Ray is the Kinks' main songwriter and lead singer, while Dave Davies has placed a handful of his own songs on Kinks albums and sporadically released his own albums. Ray Davies published an autobiography, "X-Ray," in 1995 and toured by himself; Dave Davies has his own autobiography, "Kink" (1997), and is now touring with his own band. His shows at the Bottom
Line, on Wednesday and Saturday, were his first appearances as a leader in New York City.
While Ray Davies's solo tour has as much talk as music, Dave Davies just plugged in and played: recent songs, 1960's songs, even a few of his brother's songs that he admires. Dave Davies has a lot in common with his brother. His early songs were about desperate lust and frustration, with their hormonal furies echoed in power chords and wrenching solos. But Mr. Davies also cherishes the bounce of English music-hall songs, and like his brother he has a nostalgic streak. Compared with his brother's songs, however, Dave Davies's tend to go to extremes: angrier, sadder, grittier.
As he has aged, Dave Davies's songwriting has moved from youthful aggression to middle-aged wistfulness. He sang Ray Davies's "Young and Innocent Days" and "Picture Book," both about looking back. A song about his own harsher memories -- among them his mother screaming at his drunken father -- but still confesses, "I wish that it could be like it was in the old days."
The club was full of Kinks cultists, and they roared with pleasure to hear decades-old songs like "Susannah's Still Alive," "Funny Face" and "Death of a Clown." Mr. Davies was an inexperienced front man, but an enthusiastic and endearing one: the longtime second banana who had finally seized his moment.
© 1997 - The New York Times
|David Davies Delights Kinks
Fans At Toad's
By Roger Catlin - Hartford Courant - December 4, 1997
Ray Davies has received so much credit as both the chief songwriter of the Kinks - both with the band and on his two-year solo tour - that one wondered whether his guitar-playing brother and frequent foil, Dave Davies, could muster much of a tour of his own.
The pleasant surprise of Dave Davies' first-ever solo tour, which stopped at Toad's Place in New Haven Tuesday night, is that it actually may deliver more Kinks thrills than his big brother's. Besides being the groundbreaking guitarist who brought forth the first fearsome power chords of "You really Got Me," helping give birth to hard rock, Dave Davies is the consummate Kinks fan as well.
He'd like nothing more than to be in the studio or on tour with the great surviving British band. But in it's place, he's obviously having a splendid time honoring the band in a tour named Kinks Kronikles. Like the 1972 album of the same name, the tour sticks largely to obscure, melodic tunes from the
band's late 60's period, when it was banned from performing in the United States because of a union dispute.
Backed by a talented young band, the show resulted in the kinds of things fans have been waiting 30 years to hear, performed live by a Kink, including "Susannah's Still Alive," "Love Me Till the Sun Shines," "She's Got Everything" and "Funny Face." "Over the years, there's been so many neglected
Kinks songs," the youthful 50 year-old said before embarking on the moving "Young and Innocent Days."
Kicking off the show with a rocking "I Need You," it seemed at first Davies would be singing every song an octave higher than his brother. But he came to terms with most of the songs, his sweetly melodic voice sounding just right on most.
Davies good-naturedly skewered his brother's tour by pulling out a copy of his own black-bound biography and a pair of broken reading glasses, vowing to read every word of the book, exclaiming, "Enough rock 'n' roll!" It was just a joke, though, and he pulled on an acoustic guitar for a exquisite acoustic portion of the show that began with "Picture Book" and included a beautiful version of the 1970 "Strangers" and a heady "Too Much on My Mind."
"Fortis Green," the one song he wrote after finishing his biography, "Kink," is a fine addition to his impressive catalog. Though he sold a new collection of his solo work, "Unfinished Business," Davies sang nearly nothing from it, happy to stay with the classic Kinks material that's influenced generations of British bands.
One band that would be inconceivable without the Kinks was the opener - the Botswanas, a band from New York and New Haven that produce marvelous, hooky songs based on '60's simplicity and '70's New Wave style. Its members seemed as excited about the headliner as the audience.
©1997 - Hartford Courant