Return to waterloo download youtube. Return to Waterloo download download. The Singles Collection/Waterloo Sunset Release info: Produced by: Ray Davies, Shel Talmy Release date: 29 Sep, 1997 Record label & catalog. Essential (Castle) ESSCD 592 (GAF 40 592 EFF) Country: UK Format: 2 CD set Release type: Compilation Tracks: Disc 1: The Singles Collection 1. Long Tall Sally mono mix (2:10) recorded probably 17 Jan, 1964 at Pye Studios (No. 1) London 2. You Still Want Me mono mix (1:58) recorded probably 17 Jan, 1964 at Pye Studios (No. 1) London 3. You Really Got Me mono mix (2:13) recorded mid-Jul 1964 at IBC Studios, London 4. All Day And All Of The Night mono mix (2:20) recorded 24 Sep, 1964 at Pye Studios (No. 2) London 5. Tired Of Waiting For You mono mix (2:30) recorded 17, 18, 24, 25 Aug 1964 at Pye Studios (No. 2) London, with additional guitar overdub at IBC Studios, London in 29 Dec 1964 6. Ev'rybody's Gonna Be Happy mono mix (2:14) recorded 22 Dec, 1964 at Pye Studios (No. 2) London 7. Set Me Free mono mix (2:10) recorded 14 Apr, 1965 at Pye Studios (No. 1) London 8. See My Friends mono mix (2:44) recorded 3 May, 1965 at Pye Studios (No. 1) London 9. Till The End Of The Day mono mix (2:18) recorded 25-30 Oct, 1965 at Pye Studios (No. 2) London 10. Where Have All The Good Times Gone mono mix (2:48) recorded 25-30 Oct, 1965 at Pye Studios (No. 2) London 11. Dedicated Follower Of Fashion mono mix (2:59) recorded 7 Feb, 1966 at Pye Studios (No. 2) London 12. A Well Respected Man mono mix (2:38) recorded probably 6 Aug, 1965 at Pye Studios (No. 2) London 13. Sunny Afternoon mono mix (3:31) recorded 13 May, 1966 at Pye Studios (No. 2) London 14. Dead End Street mono mix (3:20) recorded probably 22 Oct, 1966 at Pye Studios (No. 2) London 15. Waterloo Sunset mono mix (3:14) recorded Apr 1967 at Pye Studios (No. 2) London 16. Death Of A Clown mono mix (3:01) recorded Jun 1967 at Pye Studios (No. 2) London 17. Autumn Almanac mono mix (3:10) recorded Sep 1967 at Pye Studios (No. 2) London 18. David Watts stereo mix (2:37) recorded probably May-Jun 1967 at Pye Studios (No. 2) London 19. Susannah's Still Alive mono mix (2:21) recorded probably Aug 1967 at Pye Studios (No. 2) London 20. Wonderboy mono mix (2:48) recorded Mar 1968 at Pye Studios (No. 2) London 21. Days mono mix (2:52) recorded May 1968 at Pye Studios (No. 2) London 22. Plastic Man mono mix (3:00) recorded Mar 1969 at Pye Studios (No. 2) London 23. Victoria stereo mix (3:38) recorded May-Jun 1969 at Pye Studios (No. 2) London 24. Lola stereo "Coca Cola" mix (3:58) recorded 9, 10 May 1970 at Morgan Studios (1) Willesden, London 25. Apeman stereo mix (3:51) recorded 27 Oct 1970 at Morgan Studios (1) Willesden, London Disc 2: The Songs of Ray Davies: Waterloo Sunset 1. The Shirt stereo mix, recorded (unknown date) at Konk Studios, Hornsey, London 2. A Rock 'N' Roll Fantasy live, stereo mix, recorded mid-1990s at unknown venue 3. Mr. Pleasant mono mix (3:00) recorded Mar 1967 at Pye Studios (No. 2) London 4. Celluloid Heroes live, stereo mix (7:21) recorded 11 Nov, 1979 at Volkshaus, Zürich, Switzerland 5. Voices In The Dark 1997 stereo mix, recorded Apr 1985 at Konk Studios, Hornsey, London 6. Holiday Romance stereo mix, recorded Sep 1974 at Konk Studios, Hornsey, London 7. Art Lover stereo mix, alternate take, recorded May-Jun 1981 at Konk Studios, Hornsey, London 8. Still Searching stereo mix, recorded late 1990 at Konk Studios, Hornsey, London 9. Return to Waterloo stereo mix, demo version, recorded 1985? at Konk Studios, Hornsey, London 10. Afternoon Tea stereo mix (3:23) recorded May-Jun 1967 at Pye Studios (No. The Million-Pound-Semi-Detached stereo mix, recorded spring 1989 at Konk Studios, Hornsey, London 12. My Diary 13. Drivin' stereo mix (3:18) recorded May 1969 at Pye Studios (No. Waterloo Sunset stereo mix (3:17) recorded Apr 1967 at Pye Studios (No. Scattered stereo mix (4:13) recorded late 1990 at Konk Studios, Hornsey, London Liner Notes: Disc One: Production: Ray Davies Disc Two: Produced by Ray Davies Remixes Engineered by Mike Konopka The songs of Ray Davies Waterloo Sunset Some of the short stories on which this album is based were written in note form at the time I was writing the lyrics, These include "Rock and Roll Fantasy. Scattered. 32 Bar Bridge" and "Celluloid Heroes. "Million-Pound-Semi" was written around the time of the property boom in 1988 and was later made into a short promotion video but the project never got off the ground. "Holiday Romance" was simply adapted from the lyrics of the song whereas many incidents that occur in "Still Searching" took place long after the song was written. "Return To Waterloo" started as a song, then turned into a film script and was shown on channel 4 in 1984. The notes for the short story version were written while I was editing the film (although they are not to be taken as autobiographical as such. The story came about from seeing the actor's face running through the editing machine over and over. Each time, I seemed to see something new in him. I liked the idea that the character might be having the last laugh on us (the audience) by living a life outside the film. The original script had him not speaking. the fantasy would be to cut the movie with his inner story dubbed on, but at the time, the film's backers wanted him to be a sympathetic character. As a result, many of the darker and complex aspects of his character were suppressed. "Art Lover" and "Afternoon Tea" were adapted from the original songs. The story of "Afternoon Tea" was originally called "The Cake" I have since written a song called "The Cake" but it would have been too confusing to include it in this collection. In "Art Lover" the slick haired punk from "Return To Waterloo" is given an extended life as Lucien. All the other connected characters in this story are deliberate. "Voices In The Dark. was written for the credit sequence of "Return To Waterloo" but was not included in the film. The girl's voice singing on "Voices In The Dark" is my daughter Louisa who sang on the rest of the soundtrack. The demos are an assortment of ideas from the "Come Dancing" period ( Come Dancing" itself started as one of these demos. It worked like this. Mick Avory and Jim Rodford would usually stick around after Dave Davies and keyboard player Ian gibbons left the studio and I would start jamming and then shout out the chords through the headphones. Then I'd sing rough lyrics or snippets of the dialogue as the songs were sometimes incomplete. I'd then take the rhythm track home and dub onto a four track where I would lay the final lyrics. Sometimes the songs had different "Titles or Codes. For example, The Shirt. started life as a long piece called "Reefer Madness. This was when I was ensconced in New York City writing songs for an Arista album. The song was about a guy from Yonkers who went Bonkers on a date with a girl from the East Village. After he'd indulged in a night of recreational drug taking he is wrongly identified as the murderer because of a bloodstain on his second-hand shirt which was ironically already there when he bought it in a thrift shop (at this time, I was actually buying a lot of my stage clothes from a second-hand clothing shop on the upper West side. I suppose "The Shirt" could be called an anti-drug song. Clive Davis - Head of Arista Records had signed the Kinks as what he described as an "A. O. R. Crossover Act. We'd just left RCA where we'd been recording our Theatre shows. Preservation" and "Soap Opera" and the Arista move was intended to take us back into the mainstream away from the craziness of these concept shows. I felt that "The Shirt" or "Reefer Madness" as it was then, would have been a step back to these concept albums. As for the track itself, I wanted Mick Avory to do a Gene Krupa style jazz drum solo to give the feel of 1940's film Noir and if the track had been taken further, I would have put on horns in the style of Stan Kenton. The song was also a rebellion against some of the M. songs Clive Davis was trying to get the Kinks to record at the time. The saying "It's cool but don't play it to Clive" was a signal for the studio engineer to lock the tape away in a drawer then throw away the key. Commercial stability was uppermost in our minds but now I think that if we'd had the conviction to actually complete the recording of "The Shirt" Clive would probably have gone for it. Also, I was preparing to write "Return To Waterloo" which was commissioned by Channel 4 as a long form television play with music and several other extended pieces such as "Cliches Of The World" B Movie) which was on the "State Of Confusion" album. Aggravation on "UK Jive" and "It" from "The Road" album were started around this time. If "The Shirt" had gone ahead I would have liked to have cast someone like Bill Murray from "Saturday Night Live" as the unfortunate hero. The jazz middle would have suited his cabaret singing style. It reminded me of the 'Mr Wonderful' character I created in the 1970s for the "Everybody's In Showbiz" album. The greatest ass in showbusiness. However, I must emphasise that the song itself has no bearing relevance to the short story "The Shirt" in the "Waterloo Sunset" stories. That's why the lyrics are not included in the book. Ray Davies, 1997. E-mail Dave Emlen.
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Return to Waterloo is an impressive, offbeat 60 minute feature made for Channel 4 by Ray `The Kinks' Davies in 1984. A middle-aged commuter (Ken Colley) known only as The Traveller' appears to suffer a mental breakdown while on a train between Guildford and Waterloo. He begins to have fantasies about his fellow passengers bursting into song a la Dennis Potter. Fat Thatcherite businessmen try to seduce a fresh faced associate to their way of thinking,singing claims of play the game and you'll be one of us. Elsewhere violent punks terrorise their fellow passengers by blasting out a nihilist song called Sold Me Out' from their ghetto blaster and elderly WW2 veterans remark what has this great nation become' as the train passes a graveyard.
Things become far more darker as the train ride progresses,The Traveller begins imagining the punks beating the other passengers then dragging them into the aisle ready to be shot in the head,a blind old granny has her dark glasses pulled off revealing her white zombie-like eyes,she then produces a huge knife and proceeds to stab her attacker to death,and the Traveller imagines himself flying into a rage decapitating people on the train with his briefcase,a scene in which his victims are represented by department store mannequins.
All rather bizarre. Oh and of course there is also the small matter that the Traveller may or may not be a rapist and serial killer. A copy of The Sun which he brings on the train with him carries the headline Have you seen this face?rapist sought' and the photo-fit on the cover looks allot like the traveller. Something which doesn't go unnoticed by the other commuters. Adding to the traveller's woes is the memory of his teenage daughter who has run away from home. There is the creepy implication of incest in flashbacks of him accidentally walking into her room while she's naked and even the possibility of murder as-in another fantasy scene-we later see her on a morgue table turning round to embrace him. Return to Waterloo has a circular plot,beginning and ending with the traveller stalking a blond woman he's followed from the train in the underground,on his murderous way he's eyeballed by a busker (Davies himself, doing a Hitchcock like cameo) who sings the film's haunting theme tune look at all the people around me,same old faces joining the queue,for a return to Waterloo. Among the interesting supporting cast are a very young looking Tim Roth (as the lead punk) Gretchen Franklin as a gossip giving the traveller dirty looks; the film also features cameos from Weatherman Michael Fish and Agony Aunt Claire Rayner as themselves. For its director Return to Waterloo seems to have acted as an experimental break from his day job,at the time the film was made The Kinks were back in the charts and the public consciousness-due in no small part to MTV airplay of their Come Dancing video. The band had been signed to the Arista label in the late 70's under the condition that they would produce straightforward pop albums,the lead singer's previous forays into eccentric concept albums like Preservation Acts 1 and 2,Schoolboys in Disgrace and Soap Opera were clearly out of the question in this environment. Judging by the end result it looks as if Davies envisioned Return to Waterloo as a kind of concept album on film. It's shot in the style of an ongoing series of pop videos and dialogue is mostly eschewed in favour of Kinks songs especially written for the film which act as a commentary on the narrative. Davies' song writing skills more than making up for the almost complete lack of dialogue. Return to Waterloo seems every bit as disillusioned with the times as the central character,from the punks to the greedy businessmen the film holds them all in contempt,the only character Return to Waterloo seems to have total sympathy for is the traveller's wife who believes her husband is having an affair and is the subject of the touching song Lonely Hearts' whose lyrics are in the style of an agony aunt letter,which in case you were wondering is where Claire Rayner enters into the proceedings.
Return to Waterloo caused a considerable rumpus within The Kinks,especially agitated was Dave Davies who felt the solo project' was taking up to much of brother Ray's time,when he should be focusing on The Kinks and making the most of their new lease of life as an 1980's stadium rock band (Dave may have had a point,the band stopped touring in order to complete the film's soundtrack and their next album sold badly compared to their recent output. The film itself wasn't free of interference either,Davies later claimed that the film's backers were uneasy about the content,specifically they felt The Traveller should be sympathetically depicted which may explain why the film remains somewhat cryptic over whether he really is the Surrey rapist. There is the Soap Opera-like implication that the whole thing is the delusion in the mind of a sad,unimportant little man dreaming he's a serial killer (or in the case of Soap Opera a rock star) in order to escape his suitably drab day-to-day existence. A few years later Davies would revisit the story (a Return to Return to Waterloo,if you like) in his book Waterloo Sunset which firmly paints The Traveller as the guilty party and includes graphic details which would have been unthinkable for TV broadcast in the mid-Eighties. Even in the slightly compromised film version however Return to Waterloo disturbs far more than many British horror films of the period,and amusinglyalthough surely unintentionally-the film shares the concept of a bored train passenger drifting off into a series of wild fantasies with Derek Ford's Diversions a.k.a. Sex Express. Well worth searching out,Return to Waterloo remains shamefully neglected in its country of origin,it's rarely been repeated by Channel 4,is hard to track down on video and is only available on DVD in the US.
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