Transcript Kinks - Frank Markovich

Kinks
Power Chords
The Kinks are a British rock and roll band, first gaining prominence in the mid-1960's as
one of the most influential bands of the British Invasion. The core of the band over the
years has remained brothers Ray and Dave Davies.
The lineup with which they began their recording career was Dave Davies (lead guitar,
vocals, songwriting); his brother Ray Davies (primary songwriter, primary vocalist,
rhythm guitar); Pete Quaife (bass guitar, vocals); and Mick Avory (drums). The group
was briefly called The Ravens until, at their manager Larry Page of Page One Records'
urging, they changed their name to The Kinks just before their first recording. The name
is thought to refer to the style of "kinky" boots and clothing then in fashion, partly thanks
to the Avengers television series. The Kinks have always had a tempestous relationship
(especially between the Davies brothers), and their frequent quarrels often degenerated
into fist-fights, sometimes taking place onstage.
Their early incarnation as rebellious three-chord rockers provided a template for punk,
and their earlier albums (particularly The Village Green Preservation Society) are
frequently cited by underground musicians and music fans as an apogee of pop
songwriting. However, the band never gained the same degree of popularity and
commercial success as their peers, in part because legal problems prevented them from
touring in America throughout most of the late 1960s, but also due to Davies' disdain for
popular musical trends in his songwriting, as embraced by the Kinks' major British
contemporaries The Beatles,The Rolling Stones, and The Who.
Nevertheless, the Kinks are considered to be one of the greatest and most influential
British Invasion Mod acts and together with The Who and The Small Faces, they helped
define the Mod movement in the music of the 60s and 70s. The Kinks maintain a rabidly
loyal fan base and the band's material has hugely influenced many modern British and
American rock acts. Most notably, Ray Davies' intensely British outlook and his
penchant for nationalist nostalgia were consciously imititated by 90s Britpop bands such
as Pulp, Oasis and Blur. He is cited as one of the best and most creative songwriters and
musicians of the 20th century among Pete Townshend, Lennon/McCartney and the
Jagger/Richards duos.
Will do You Really Got Me
• Power chords dominate this song.
• Setting of guitar tone and where you play
is important.
F5 Power Chord (E form) G5 Power Chord (E form)
1
3
1
4
3
X
X X
4
X X
X
These are 6th root at the 5th fret is A5 power chord, B5 at 7th fret, C5 at 8th
fret, and D5 at 10th fret.
For this song do F5 to G5 for 8 bars then up 2 frets G5 to A5 for 4 bars then
up to the C5 D5 for 4 more bars.
Solo is F5 to G5 for whole thing.
F5
Keep fingers in one form for the whole song. You can think of these are a
barre form (E form) without playing the 1st 3 stings. In fact, try to mute those
strings. Slide the chords, you may get some string noise but that is ok. Watch
the rests on beat 3 and the fist ½ of beat 4. They are just as important as the
notes you play.
You Really Got Me
The Kinks, Ray Davies
Girl, you really got me goin'
You got me so I don't know what I'm doin'
Yeah, you really got me now
You got me so I can't sleep at night
Yeah, you really got me now
You got me so I don't know what I'm doin', now
Oh yeah, you really got me now
You got me so I can't sleep at night
You Really Got Me
You Really Got Me
You Really Got Me
See, don't ever set me free
I always wanna be by your side
Girl, you really got me now
You got me so I can't sleep at night
Yeah, you really got me now
You got me so I don't know what I'm doin', now
Oh yeah, you really got me now
You got me so I can't sleep at night
You Really Got Me
You Really Got Me
You Really Got Me
Oh no...
(solo)
See, don't ever set me free
I always wanna be by your side
Girl, you really got me now
You got me so I can't sleep at night
Yeah, you really got me now
You got me so I don't know what I'm doin', now
Oh yeah, you really got me now
You got me so I can't sleep at night
Use the book
Solo
•
•
•
•
Very typical old school type solo.
Lot’s of bends
Repeated melodic and rhythmic figures.
Looks hard but is not all that difficult as the
repeats really simplify it.
3rd fret gives
you the blues
scale in G.
This whole
solo uses this
scale on the 1st
four strings
only.
1
1
1
1
1
1
4
4
2
3
4
3
3
4
I hold down a G chord at the 3rd
fret (E form) while playing – at least
I will think of that!
1
2
3
1
Rhythmic patterns in this
Let’s try this rhythm over and over –
do as 4/4
1e&2e&3e&4e&
1
e
&
You could relate this to the classic
rhythm of “I think I can” just the “think
I can” from the book “The Little
Engine that Could”.
These 2 are similar but backwards.
1
e
&
1
&
e
Start of the solo is with a bend that just keeps going. Starts on the and
after beat 1 and continues into the 2nd measure. The bend is
somewhere between a ¼ bend and a ½ step bend.
1 &
2
&
3
&
4 &
1
&
2e &
3
& (a 4) 3 &
Bend up 5th to 6th on recording a ¼ bend.
Count this out slowly. Just take your time on this. Listen to the recording.
Listen to the solo slow – just notes.
Start of the solo is with a bend that just keeps going. Starts on the and
after beat 1 and continues into the 2nd measure. The bend is
somewhere between a ¼ bend and a ½ step bend.
1 &
2
&
3
&
4 &
1
&
2e &
3
& (a 4) 3 &
Bend up 5th to 6th on recording a ¼ bend.
Count this out slowly. Just take your time on this. Listen to the recording.
Listen to the solo slow – just notes. Just the
1st 2 measures.
1 (e&) e 2 &
3 & 4 e &
1
Slide – Grace note
e (& 2) e &
3
Measures 4 and 5 repeated!
&
4 e &
1
& a 2 (&
3) & 4 e &
1
These measures.
Repeats next line.
& (a 2) e &
3
&
4 e &
Bend up a
¼ step to ½
step.
Whole Thing!
Try the whole thing!
The End
Work in groups
• We will split up in groups of 3.
• Try to play the whole song.
• Then change off on the solo. Don’t worry
if it is perfect the key is to just get some of
the ideas.
• Note that this is based off of the G blues
scale again almost entirely.
Power Chords
• Going forward listen for power chords in
other songs.
• This wasn’t the first song to use power
chords but it is one that used them
throughout the song.