Beginning 1966 with the February single release of 'Dedicated Follower Of Fashion', they followed that with 'Sunny Afternoon' on 3 June. It was clear that the songwriting of Ray Davies was developing nicely and boded well for the new album release. Despite suffering somewhat from being issued in the wake of 'Pet Sounds' and 'Revolver', there is no doubt that 'Face To Face' is a wonderful piece of work and it represents the high point in the career of The Kinks up to that point in time.
As the main recording sessions for the album began in June 1966, Ray Davies was about to celebrate his 22nd birthday and was in the process of recovering from a nervous breakdown. The endless touring, writing, recording and the responsibility of being married with a young daughter had taken their toll on this young man. Nevertheless his songs were showing a greater sense of maturity coupled with finely tuned social awareness. The situation was not helped when bass player Pete Quaife quit the band prior to the commencement of the sessions. He subsequently returned to the fold but was replaced on one track by John Dalton.
For the album sessions, the basic line-up of Ray Davies, his brother Dave, Pete Quaife and Mick Avory were augmented by NIcky Hopkins on keyboards and backup vocals from Rasa Davies, the wife of Ray.
'Party Line'
I suppose for the benefit of younger readers, I should first explain what a party line was. Basically in the 1950s and 1960s there was an opportunity to save costs by sharing a telephone line with another subscriber. This could result in the scenarios described in the song whereby one user picked up the receiver to make a call and could hear the other user having a conversation. I daresay it could lead to some awkward situations and sounds perfect for eavesdroppers.
The song begins with the ringing of a telephone and a plummy voice answering 'Hello, who's that speaking please?' The voice is that of Kinks manager, Grenville Collins. A theme Davies envisaged for the whole album, was to have the tracks linked by sound effects. The idea was later dropped but some of the effects do survive.
In his book 'Kink', Dave Davies claimed that he was the writer of this song.
'Rosie Won't You Please Come Home'
The song represents a plea from a mother for the return of her daughter who has left home to 'join the upper classes'. It is made even more poignant by the fact that Davies' sister Rosie had left London and was living in Australia at the time. This is the first truly great song on the album.
'Dandy'
With this number, married man Davies takes a pop at those who are obsessed with 'chasing all the girls' and refuse to settle down. The lyrics warn that 'two girls are too many, three's a crowd and four you're dead.' The sentiments may have been aimed at Dave Davies who at the time was happy to enjoy the wild and free lifestyle of the 'pop star'. Whoever the target, at least Davies ends with the cry of 'Dandy you're alright'.
The song was also released as a 1966 single by The Rockin' Vickers featuring Lemmy prior to his Hawkwind days.
'Too Much On My Mind'
Another superb song which perhaps represents the state of mind of Ray Davies as he went through his breakdown. 'It's ruining my brain, I'll never be the same, my poor demented mind is slowly going.'
Who'd be a rock star?
'Session Man'
Nicky Hopkins who adds some wonderful keyboards to this album and plays the fast paced introduction, was said to be the subject of this song. Full of little in-jokes, Davies sings 'He's not paid to think, just play.'
'Rainy Day In June'
The sound of thunder introduces this song which begins as a doom laden tale of a bad day in June. With 'misty shadows', disappearing light and skies turning grey, 'there is no hope of reasoning'. Later the lyrics turn a tad more supernatural with 'cherished things perishing' and 'elves and gnomes hunched in fear.' Throughout, the music sets the tone as do the thunderous sound effects best heard in mono.
'A House In The Country'
Musically the band return here to their Chuck Berry roots while lyrically Davies attacks the smug stock-broker belt anti-hero who is 'socially dead' but it 'don't matter much to him, 'cos he's got a house in the country.'
The Pretty Things also scored a hit with a single release of this song.
Side two of the album begins with more sound effect to introduce:
'Holiday In Waikiki'
My least favourite track on the album so I have little to say about this song which is self explanatory anyway.
'Most Exclusive Residence For Sale'
Perhaps this is the anti-hero of 'A House In The Country' getting his comeuppance.
'Fancy'
Starting with acoustic guitar reminiscent of The Rolling Stones' 'Lady Jane', this song is built around an Indian type drone and the brief lyrics are largely impenetrable. Perhaps that's the point as Davies sings in the second and final verse, 'No one can penetrate me.'
'Little Miss Queen Of Darkness'
This is the track that features John Dalton on bass in place of Pete Quaife. An acoustic ragtime number, it tells the story of a good time girl who looked happy but had 'sadness in her eyes'. Things weren't all they appeared to be it seems.
'You're Looking Fine'
Dave Davies takes the lead vocals on this track which sounds like a cross between The Rolling Stones and Van Morrison's early band, Them. Not the greatest song on the album but it does feature nice bluesy guitar from the younger Davies (not even 20 years old by this time) and piano from Hopkins.
'Sunny Afternoon'
A standout track both musically and lyrically in which Ray Davies vents his frustration at the British Income Tax system in much the same way George Harrison had with 'Taxman'.
The single version spent a couple of weeks at number 1 in the UK earning even more money for the taxman.
'I'll Remember'
Coming as it does after 'Sunny Afternoon', this song was never going to sound great, but it is actually something of an oddity on this album as it originates from the October 1965 sessions for their previous work, 'The Kink Kontroversy'.
The cover design for the album originated with an idea of Ray Davies in which he envisaged a theatrical mask with the top of the face lifted to allow butterflies to escape. The actual release of the album was delayed by a few months due to a contractual dispute with Pye Records. Nevertheless it was critically acclaimed yet possibly due to the wealth of other great material being released at that time, the sales were relatively poor. With subsequent CD releases including stereo and mono mixes and a number of session outtakes, the album is at last being lauded as the great work it truly is.
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