Everybody felt the rain

By 1966, The Kinks were trying to either recapture the popular success of their earliest singles, or trying to set a new direction for themselves, or, probably ideally, both. Ray in particular was under pressure to recapture his previous glories, yet after three studio albums in barely a year he was beginning to resent the music business and its demands on him as the de facto leader of the group. Add to this a somewhat unexpected marriage and parenthood, and Too Much On My Mind, tucked away as the fourth track on Face To Face, says it all, in both title and lyrics.
My thoughts just weigh me down,
And drag me to the ground,
And shake my head till there’s no more life in me
It’s ruining my brain,
I’ll never be the same,
My poor demented mind is slowly going
In Face To Face, Davies’ focus falls variously on family loss (Rosie Won’t You Please Come Home, a precursor for Arthur), the material excesses of the 60s (A House In The Country, Most Exclusive Residence For Sale, and Holiday In Waikiki), and the supernatural and mysticism (Rainy Day In June, and Fancy). Throw in some more conventional (for which read ‘staid’) pop songs in You’re Looking Fine and I’ll Remember, and you’re left with something of a hotch-potch of themes, most of which hint at, or scream about, the sadness and frustration beneath the surface.
It’s worth lingering on Dandy a little while. In the very middle of the Swinging Sixties, a time of unprecedented sexual freedom, not least for pop stars, Davies castigates a womanising, playboy figure for “pouring out your charm / to meet your own demands”. Predicting a future where the Dandy remembers being told that “two girls are too many, three’s a crowd, and four you’re dead”, Davies is scathing about this selfishness (“And Dandy, you’re alright, you’re alright, you’re alright…”), a fine example of his genius in subverting the norms.
Where subsequent albums would rise above their imperfections to become, well, gloriously imperfect, Face To Face doesn’t manage to overcome its limitations. And yet, with Sunny Afternoon the group demonstrated that their move away from rock and roll could be both a commercial and a critical success. As such, Face To Face is best viewed in the context of the Kinks’ career trajectory as a whole. From Ray Davies’ ravages of mental torment came a single which, ultimately, confirmed the Kinks’ growth beyond their contemporaries, and set the foundation for them, in their golden years of 1966 to 1971, to transcend the contemporary full stop.



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