Fact #106085
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Ray Davies (leader, The Kinks] : All Day And All Of The Night was my favourite Kinks single, and I'll tell you why. You Really Got Me had been the big step forward and possibly the only thing I'd ever do. To write a follow up is really difficult, and I did it in the back of a car, just a few days before we rehearsed it at the gig, and the next day we recorded it in London, UK.
Pete Quaife (bassist, The Kinks] : Everything was moving so fast at that point. Previously we'd have several days to rehearse songs, but by then a song would get written and we'd have just a few hours to rehearse it and then go straight into the studio to record it. I remember that we had to do the end of it again the next day and edit it on. Right at the end where it doubles the beat. We hadn't quite done it right the first day, so we did it again. At this point I was beginning to hate studios.
The problem was that once I'd put down my bassline there was nothing else for me to do but Ray always insisted that we all stay around. So you'd spend hours watching other people work. Remember, we were only working on four tracks in those days, so we had to get down as much as we could on each track. The way we worked was that on the first track we'd always put down a backing of bass, drums, piano, and rhythm guitar, and that was laid down as live, so everything splashed together and gave it a very live sound. The other tracks we would use for the vocals or any additional instrumentation.
Dave Davies : When we made All Day And All Of The Night, everybody knew the plot because of You Really Got Me. They knew what we wanted. But if you play the two records one after the other, you can tell that All Day And All Of The Night just sounds better. Once our producer, Shel Talmy, knew the plot, then we could work with him. To be fair to him, I think he did help the music once he understood it... There's a dirty, sexy aggression and energy that we didn't get on You Really Got Me.
Shel wasn't the kind of producer who controlled the session. He just made it possible for us to achieve what we heard in our heads. Once producers took over in the seventies, all the records started to sound the same. Surely the musicians and songwriters and players should be the ones who dictate how a record sounds? All the really great producers are the guys who sit back and over-view it, and move it along when there's problems.
(Source : not known)
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Pete Quaife (bassist, The Kinks] : Everything was moving so fast at that point. Previously we'd have several days to rehearse songs, but by then a song would get written and we'd have just a few hours to rehearse it and then go straight into the studio to record it. I remember that we had to do the end of it again the next day and edit it on. Right at the end where it doubles the beat. We hadn't quite done it right the first day, so we did it again. At this point I was beginning to hate studios.
The problem was that once I'd put down my bassline there was nothing else for me to do but Ray always insisted that we all stay around. So you'd spend hours watching other people work. Remember, we were only working on four tracks in those days, so we had to get down as much as we could on each track. The way we worked was that on the first track we'd always put down a backing of bass, drums, piano, and rhythm guitar, and that was laid down as live, so everything splashed together and gave it a very live sound. The other tracks we would use for the vocals or any additional instrumentation.
Dave Davies : When we made All Day And All Of The Night, everybody knew the plot because of You Really Got Me. They knew what we wanted. But if you play the two records one after the other, you can tell that All Day And All Of The Night just sounds better. Once our producer, Shel Talmy, knew the plot, then we could work with him. To be fair to him, I think he did help the music once he understood it... There's a dirty, sexy aggression and energy that we didn't get on You Really Got Me.
Shel wasn't the kind of producer who controlled the session. He just made it possible for us to achieve what we heard in our heads. Once producers took over in the seventies, all the records started to sound the same. Surely the musicians and songwriters and players should be the ones who dictate how a record sounds? All the really great producers are the guys who sit back and over-view it, and move it along when there's problems.
(Source : not known)