Later commercial sound (1976–84) Ray Davies

ray davies performing in toronto, 1977

when kinks changed record labels rca arista in 1976, davies abandoned then-recent propensity ambitious, theatrical concept albums , rock operas—the rca era (1971–75) had produced muswell hillbillies, s in show-biz, preservation act 1 , act 2, soap opera , schoolboys in disgrace—and returned writing more basic, straightforward songs. group employ newer production techniques achieve more refined studio sound on albums sleepwalker (1977) , misfits (1978), davies focus shifted wistful ballads of restless alienation ( life on road , misfits ), meditations on inner lives of obsessed pop fans ( juke box music , rock n roll fantasy ), , exhortations of carpe diem ( life goes on , live life , ). notable single late 1977 reflected contemporary influence of punk rock: father christmas (a-side) , prince of punks (b-side—inspired davies troubled collaboration tom robinson).

by 80s, kinks revived commercial fortunes considerably adopting more mainstream arena rock style; , band s 4 remaining studio albums arista—low budget (1979), give people want (1981), state of confusion (1983) , word of mouth (1984)—showcased decidedly canny , opportunistic approach. on (wish fly like) superman , davies vented existential angst 1979 energy crisis on thumping disco beat; on gallon of gas , addressed same concern on traditional acoustic twelve-bar blues shuffle. in contrast, better things (1981), come dancing (1982), don t forget dance (1983) , day (1984) sentimental songs of hope , nostalgia aging air raid generation. however, catch me m falling (1979), destroyer (1981), clichés of world (b movie) (1983) , again (1984), davies brothers cranked out strident, heavy-riffing hard rock conveyed attitude of bitter cynicism , world weary disillusionment.

i write songs because angry, , m @ stage s not enough brush off humour.