This Time Tomorrow

As long-time readers of this blog will testify, I’m a guy who likes music. I write about it, I wrote a comic book about it, and I’m currently writing a TV series based on that comic book that will naturally feature much of the music of my youth.

Coming to TV screens everywhere in 2023. Hopefully

The challenge with all of this is listening to that music. The music I grew up with. There are so many memories tied to those songs and bands and albums that forging new memories to accompany those soundtracks proves to be more difficult the older I get. I’ll always think of a lengthy bus ride to Stratford, Ontario anytime I spin The Pixies’ Bossanova album. I’ll always think of a particularly messy breakup anytime I hear U2’s “So Cruel” off their Achtung Baby album (actually, my entire senior year of high school could be soundtracked by AB). Even later albums and experiences have a soundtrack. I can’t listen to Coldplay’s Viva La Vida album without flashing back to my first years residing in New York City. Point is, there’s only so much room in the memory bank before you have to start deleting and dumping old files. That’s why it’s important to allow new music into your life, or at least music that’s new to you.

Currently I’m a fan of contemporary artists like Jack White, The Kills, The Weeknd, Metric and – possibly my favorite new artist – the three-piece sister act Haim out of Los Angeles.

My favorite album of 2020. And 2021 for that matter.

But if there’s one “new” band that towers over all the above, it would be this one, formed in 1963, and splitting in 1996. Four scruffy lads from the Muswell Hill area of North London.

The klassic line-up (L-R) Ray Davies, Mick Avory, Dave Davies, Pete Quaife

I of course am talking about The Kinks.

Buckle up.

PART I: Picture Book

The first Kinks song I ever heard, or became aware of, would have been “Come Dancing”, which was a staple of rock radio and MTV back in the 80s. I think I heard it on the car radio and when the DJ mentioned them my dad, who was driving said “The Kinks. They were big when I was a teenager. They’re still around?” A lot of “Boomer Rock” was making a comeback in the 1980s but The Kinks never really went away. Theirs was a prolific output of practically an album a year from 1964 well into the 80s. With popular and current bands routinely taking 3-4 years between releases, that’s an impressive feat.

The Kinks were never big. They were considered “second tier” British Invasion artists. Through the years the occasional Kinks song made it through the radio barrier. You Really Got Me, All Day and All of the Night, Lola. But again, they were never BIG in the way The Beatles, The Stones, and The Who were and remain. And I think that fact was key to my (re)discovery of them in 2019.

It was on a visit to my local library. My son was at a “toddler time” story and sing-along event, and I took a stroll through the building, finding myself on the media floor, browsing their enormous CD collection. I wasn’t looking for anything in particular, but when I got to the “K” section and found The Essential Kinks just staring at me I went “why not” and grabbed it to take home for a listen.

I popped it into my computer’s CD tray, opened iTunes and listened while I worked. And the amazing thing was that I found I knew a lot more Kinks songs than I realized. Songs I never even knew were Kinks songs but had heard on the radio, in movies, on TV. Dedicated Follower of Fashion, A Well-Respected Man, Sunny Afternoon, Death of a Clown, and, of course their epic Waterloo Sunset. But I also found myself falling immediately in love with “new to me” songs like Shangri-La, Victoria, Celluloid Heroes, Life Goes On, Sleepwalker, Better Things, Living on a Thin Line, and Do It Again.

By the end of my listen, I was a Kinks fan. I wanted more. And more is what I got.


As stated, what was most surprising about my listen was how many Kinks songs I actually knew; I just never knew they were Kinks songs. Of course there were many movie-centered tracks like This Time Tomorrow, Strangers, and Powerman (from Wes Anderson’s The Darjeeling Limited), and The Village Green Preservation Society and Village Green (featured in Edgar Wright’s Hot Fuzz, and continuing into Starstruck‘s appearance in his 2021 thriller Last Night in Soho). Even a tune like Lola – the drunken sing-along song in any bar, party, concert – took on new meaning on repeated lessons when I finally realized the titular “Lola” isn’t a, well, give it a listen and really pay attention to the lyrics;


Lyrically The Kinks run circles around their better known contemporaries like The Beatles and The Rolling Stones (I would rank The Kinks’ 1967 album Something Else well above The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and The Rolling Stones’ Between the Buttons). Credit Ray Davies’ brilliance for that – this is the man who managed to make “vernacular” and “Dracula” rhyme after all – but also his younger brother Dave Davies (The Kinks’ secret weapon and inventor of the power chord that inspired every punk, grunge, and heavy metal band that followed). The legendary animosity between the Davies siblings aside, that personal and creative friction spawned so many of The Kinks’ greatest songs, albums, and performances.

So after returning The Essential Kinks to the library, I did some digging and found their copy of The Kink Kronikles, another “Best of” which filled in some gaps not covered by The Essential Kinks. For my money (and I say this because I now own it on Vinyl) it’s the better collection of songs and a better snapshot of The Kinks in that late 60s/early 70s era than any other collection before or since.

So that was going to be it. I had all the major Kinks hits covered, I was content to just leave it there. Then I visited my local comic book shop and I got hooked again.

Let me tell you about The Outer Limits in Waltham MA. It’s one of those great old-school comic book stores that has pretty much anything anyone could want. Old paperbacks and pulp novels, old toys and games, model kits, magazines, comic books – you name it. Seriously, walking there with twenty bucks you’re guaranteed to walk out with something.

But what really grabbed me on this particular day was the store’s collection of affordable and varied vintage vinyl records. If none of the written material appealed to me I’d flip through the selection and grab a couple for the home turntable. So naturally, when I again got to the “K” section I was rewarded with a selection of Kinks albums I didn’t own. Sleepwalker, One for the Road, Low Budget, Give The People What They Want, Muswell Hillbillies.

I pretty much cleaned them out.

Preservation Act 1 & 2 soon followed, along with Soap Opera and Schoolboys in Disgrace; all from the band’s much reviled theatrical period (though I love Soap Opera and, while Preservation Act 1 & 2 I’m so-so-on, the live versions are amazing – check out the Live at the Hippodrome 1974 recording at if you don’t believe me).

But they returned to straightforward rock and roll with Sleepwalker, Misfits, and Low Budget; a renaissance that carried them well through the 1980s, and landed them the popular MTV staple Come Dancing in the midst.  

It’s only natural …

So they were hot, then not, then hot again. Today they’re regarded as the unsung heroes of the British Invasion, the godfathers of punk, Britpop, and Alternative Rock. And that I think that career arc gets to the core of what the Kinks mean to me.

Because, like them, my career began with a lot of interest, a lot of promise. Then some bad decisions and unfortunate circumstances sidelined me. I went through lengthy stretches of nobody caring about my work. Hell, I went through some periods of not caring about my work either. How could something I knew I was actually good at fill me with nothing but irritation? For a time I came to hate writing and everything about it. 

Because The Kinks couldn’t tour the US at the height of their popularity (thanks to a touring ban instigated by their on-stage antics and the oft-claimed rumor that Dave Davies slugged a stage-hand who insulted him and the band), they had to look inward, which prompted Ray and Dave to pen some of their most British albums. Something Else, Village Green, Arthur, Lola, Muswell Hillbillies. They also avoided, in my humble opinion, the burnout that would have likely fallen in the wake of US touring success, consigning them to the dustbin of also-ran 60s one-hit-wonders. Had the ban not happened we might not even have been gifted the “veddy British” songs that put them in the rock pantheon.

For my part, frequent rejections, general indifference from agents, from development executives, from producers younger and less experienced than I was led me to turn inward, and start writing for myself, not for the marketplace, not for them. The result? Mixtape, for one. Magicians Impossible for another. Those two projects probably brought me more renown, more of a genuine audience than any of the stuff I did for SyFy Channel. It wasn’t until I started creating and writing projects I cared about that I actually became a good writer.

My favorite Kinks era is that “middle” period (1966’s Face to Face through 1970’s Lola vs. Powerman and the Moneygoround Part 1) where they produced some of their lowest-selling yet most beloved works – albums, I might add, regarded as stone-cold classics by an establishment press that once dismissed them outright. That run contains my two favorite Kinks albums; The Kinks Are The Village Green Preservation Society and Arthur, or The Decline And Fall of the British Empire. My copy of Arthur on Vinyl is an original pressing and still sounds great. I bought those five album on CD solely so I could listen to them in my car (and yes, my six year-old is being raised on a steady audio diet of The Kinks, Led Zeppelin, and The Rolling Stones).    

Arthur is his fave …


“Discovering” The Kinks at this later stage in my life has been revelatory. With so many of my favorite bands, songs, and music being heavily guitar influenced discovering The Kinks has been like discovering the source of the Nile River; the source from which those waters flow to the sea. The Ramones. U2. the Pixies. Nirvana. The Clash. The Jam. Blur. Oasis. The White Stripes. Van Halen. Metallica. Motley Crue. Guns ‘N Roses. How different might the last fifty years of popular music have been without the brothers Davies, Pete Quaife, Mick Avory, John Gosling, John Dalton, Andy Pyle and so many more who contributed to that Kinks? there’s a joke question that goes around; “Are you a Beatles fan or a Stones fan? Wrong; The Kinks.” Or, “Who was the greatest British Invasion act and why was it The Kinks?” I think in the end Ray Davies is probably delighted that his band, the fourth or fifth tier of British acts back in the day are now regarded as one of the best acts of all time.

Moreover I increasingly find The Kinks providing the soundtrack to my life. I feel like that isolation (it’s lonely here in New England and that was even before the pandemic), that inward looking and looking back at a career that’s seen some ups and downs speaks to me in a way modern music does not. Music definitely changes as you get older, and changes you in ways it didn’t before. I do miss how it used to be; music is never as good, as exciting, as it is when you’re seventeen or eighteen. A time when you’re looking forward not backward. I’m doing much more of the latter than the former. I see fewer years ahead of me than there are behind me. 

I recently connected with an old friend from high school; someone I hadn’t spoken to in twenty years and seen in nearly thirty. We talked about the old days, we talked about where we are now. We both have our own lives, our own histories. Neither of us, I think, ended up where we thought or hoped we would back when we were teenagers. But in my case I feel like I ended up winning the jackpot anyway. My life isn’t what I thought it would be but when I look at all I do have I wouldn’t give any of it up. Turning back the clock, making different decisions might have propelled me to the heights of success, but I’d have to lose all I have now – my wife, my son, my life – and I could never do that. 

So years from now when I’m as old as Ray and Dave Davies are now, I’ll probably look back on these years and find the memories – the good, the bad – accompanied by The Kinks. 

What can I say? They really got me. 

Brad’s Top Ten Kinks Albums:

10. The Kinks BBC Sessions 1964-1977 (you haven’t heard them ’til you’ve heard them live)
9. Low Budget (The Kinks do hard rock and spark their comeback)
8. Muswell Hillbillies (a country-inspired album that’s much better than you’d think)
7. Face To Face (the first “true” Kinks album)
6. Sleepwalker (severely underrated pre-comeback album)
5. The Kink Kronikles (the best compilation album)
4. Something Else by The Kinks (Waterloo Sunset. That is all.)
3. Lola vs. Powerman and the Moneygoround Part I (Lola. Lo-lo-lo-lo-Lola)
2. The Kinks Are The Village Green Society (tied for #1 with …)
1. Arthur Or The Decline And Fall of the British Empire (their masterpiece)

Brad’s Top Ten Kinks Songs:

I don’t think I could narrow it down to ten, so here’s seventy Kinks Klassics for your listening pleasure.


So this update/post/whatever kind of blew up when I shared it to my various social media platforms. And I had one person message me directly to ask why I was still using Spotify as a music streaming platform. Apparently – and this is all news to me because while I’m forced to use social media I refuse to involve myself in online discourse – people have been boycotting Spotify because of their association with podcaster Joe Rogan. Apparently Neil Young and Joni Mitchell led the charge over Rogan’s platforming of anti-vax, right-wing luminaries and had their music removed, sparking others to cancel their subscriptions. Rather than respond to this reader directly I’m posting my response here;

I believe everyone must make their own principled stand whenever they feel they must. If that includes boycotting or dropping Spotify as a service, Godspeed to you. BUT if the reason is for them giving Joe Rogan a platform then I believe you have to delete Facebook and Twitter, Instagram and Discord and TikTok and every social media platform as well because they to give a platform and a voice to Rogan and his ilk. Deleting Spotify and none of these other “bad apples” is just performative.

I’ve never listened to Joe Rogan. I never will listen to him. In a world where the collected works of Sam Cooke, The Guess Who, Otis Redding, Aretha Franklin, Jimi Hendrix, The Jam, Johnny Cash (god, there’s an upcoming music/blog entry for you), and, yes, The Kinks are available to listen to at the click of a button, why people would waste their valuable ear-time listening to some opinionated meatball is one of those mysteries of human existence I will never ever understand.

28 thoughts on “This Time Tomorrow

  1. LOVE The Kinks – the BEST band the British Invasion ever produced! I have to echo a lot of what you wrote, Brad; I also think they run circles around The Beatles, The Who, the Stones, the Hollies. Great entry and an EXCELLENT playlist!

  2. Outside of their big hits I really don’t know their music so I’ll definitely give your playlist a listen. Great writing!

  3. Brilliant band. Over here in the UK they’re legendary and “Waterloo Sunset” is practically our unofficial national anthem. Did you see Ray Davies perform at Glastonbury? I believe the performance is on Youtube – just a couple days after Pete Quaife passed away. if you want to get a sense of how beloved The Kinks are over here, definitely do watch and see. Paul.

  4. Great writing Brad! I follow you on IG and know you’re a Kinks fan so I’ve been waiting for the day you wrote more about them. I’m listening to your playlist right now and likewise realize I know a lot more Kinks songs than I thought I did!

  5. I agree, Dan. I am a fan of all those bands but I think The Kinks’ songbook is much more timeless than any of them.

  6. The Kinks are a great, great band and it’s nice to see more people waking up to the fact. Great writing, Brad!

  7. So *that’s* why you keep banging on about them. I must confess they’ve been a bit of a grey area for me musically but I must say your writing has certainly opened my eyes and ears to the Kinks and the whole British Invasion. A question: what is it about the music of that era that appeals to you?

  8. Yes I do bang on about them a lot don’t I Emma? Honestly I think I’ve been drawn more to that era as of late as i watch my parents and their generation age. The music they grew up with is increasingly becoming something of an auditory lifeline to an era and a generation that is slowly passing on. A bit grim I suppose but it is what it is. The same way hearing Frank Sinatra, Dean Martin et al reminds me of my long departed grandparents.

  9. Thanks, Bill and I agree – a lot of Kinks fans seem to be of a generation younger than my own so there may be some hope for the future yet.

  10. I saw your post on Instagram and clicked through to read. I agree wholeheartedly – they were and remain the best band to emerge from the British Invasion and I likewise believe their music stands the test of time. No slagging against the Beatles but their music, as great as it is, still feels tied to that era. The Who were always a better singles band than an album one (I can’t stand “Tommy”) and I feel the Stones best work ended at Altamont. Great writing and I hope to check out your book too!

  11. The Kinks are my namesake – Ray Davis is my name (not to be confused with “Davies”). I was a later fan, getting into them in the late 70s and early 80s when they made their hard rock transition. It was actually van Halen’s cover of ‘You Really Got Me” that sparked me to the Kinks, especially when I learned I shared a name with the lead singer songwriter. So that period – Sleepwalker, Low Budget, Give The People What They Want – was MY period of discovery and fandom before transitioning more into heavy rock and metal. Funny thing: metal bands and metal fans were HUGE Kinks fans also. Any bar or club you’d be in if they put on the Kinks every hard rocker and metalhead would roar with approval. I think a lot of those bands, the successful ones and the amateurs all learned Kinks songs as part of their repertoire so there was a lot of love for them. Great Kinks write-up my man!

  12. Great story, Ray! I feel like I missed out on them when they were still together but I had other tastes and interests in the late 80s-early 90s so to me they just would have been another 60s band struggling to remain relevant. I got there in the end.

  13. Great write-up! And I agree about the Spotify thing. It makes one wonder if those calling for a boycott would even bother doing so if they couldn’t tell everyone on their social media that they boycotted at all. Or if they claimed they did but secretly did not. Anyway off to listen to some Kinks!

  14. Favourite Kinks songs: You Really Got Me, Waterloo Sunset, Lola, Life Goes On
    Favourite Kinks albums: Village Green, Lola, Something Else, Sleepwalker

    Ironically for Village Green being my favourite album I can’t pick just one song off it. To me the whole album is the whole point.

    Great story!

  15. Nice overview of the Kinks! I’ll confess I only really know them as a singles band – I have one if there best of albums in my collection. I did give your favorite Arthur a listen on Spotify and while I liked it I didn’t love it but that may just be me. I think I’ll always lean more towards their harder rock stuff than the more conceptual.

  16. Arthur was the first or second album of theirs I bought, Mike, and I’ll confess I wasn’t crazy about it either. But after diving deeper into the Kinks’ catalog it gradually made its way up the list. I do recommend you pick up the 2-CD set released a few years back for the 50th anniversary as it includes some great B-sides, and the second disk includes “The Great Lost Dave Davies Album” which is comprised of Dave Davies’ solo work, much of which was never before released. Dave was their secret weapon and his songs “This Man He Weeps Tonight” and “Mindless Child of Motherhood” are a couple of my favorite Kinks-related tracks.

  17. Great picks, Marty and I agree about Village Green. The only thing that holds it back from being my favorite is that I think after “Starstruck” it tends to flatten (and I think keeping “Days” off the album as a closing track hurts it).

  18. Hey thanks for recommending the 2-disc set. It doesn’t look like that version is on Spotify but I’ll source it elsewhere.

  19. Mike – I checked Spotify and it looks like most of the Dave Davies “Lost” album is also available as “Hidden Treasures” by Dave Davies – 1987 – in case you wanted to test drive that first. I’ll admit again that “Arthur” probably isn’t the best entry to the Kinks catalog. It feels more like a fan’s favorite than for the casual listener.

  20. Hey – I clicked here after seeing your comment on The Kinks’ Instagram page. Love this look at my favourite band. I’ve loved The Kinks my entire life – possibly because my parents named me ‘Arthur’ – I was born in 1969. I think it’s interesting that older music seems more popular now that current music. On Instagram in particular you see lots of younger men and particularly women really embracing the 60s and 70s aesthetic. Are there any current bands you’re into or like me does your musical fandom end around 1998/1999?

  21. Thanks, Arthur, your namesake is my favorite Kinks album. About to get long-winded here …

    To answer your question, I wouldn’t say music pre-2000 was any better than music of today. There was certainly a greater variety of it, but as you go further back you just find more. More albums released, more songs on the radio. Some of it is demographics – the “Baby Boom” music of the 50s-70s meant more music was out there by sheer volume of musicians recording and releasing and people buying.

    If anything the music of yesteryear was allowed to improve. It didn’t have to be a top ten, top forty hit right out of the gate. Record labels invested in an artist. They invested time and money and gave them a chance to grow an audience. That’s not to say it was easy because you only had so many chances to hit. But take a band like U2 or REM. Both released their debuts in 1980 but they didn’t really hit mainstream top ten hit territory until 7-10 years later. Would a label give a band that much time today? In both those bands’ case they were putting out an album roughly once a year, ever two years. There was a regimen. Write, record, release, tour, then back to the beginning. You toured to grow your audience, your fanbase.

    Today’s artists don’t have that luxury. Not in music, certainly not in publishing or film or TV. The latter two are slightly outliers because they’ve always been big money, big business (though it has been getting more difficult there). Same with publishing though before I sense writers were likewise allowed to grow their audience in a way they aren’t today. Today if you don’t break out, earn some good reviews, some awards, sell a lot of books up front, you’re banished to the midlist and have to struggle with every book just to get published. I’m not saying it was easy back before, but the challenges were not the same.

    So I could even argue that today’s music is actually somewhat better because it has to be right-out of the gate. The learning curve is a lit steeper and bands and singers that can’t ascend to the next level on that steep an incline will fall off and fall away. As for current artists – Coldplay, Metric, Haim, Jack White’s solo albums, Basia Bulat, and the recent Midnight Oil album were all excellent. I’m even looking forward to the next Pixies album (though in their case there are definite eras of the band – the 80s-90sone, and the 2010s’ version.

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