By: Rudy Lu
Thank you to Zan Strumfeld for curating this tribute to one of rock’s most underrated yet highly influential bands.
Zan’s doubts about the project were assuaged with the full house at the 475 seat Cohoes Music Hall. A true music nerd as well as musician/composer she has been a longtime Kinks fans, but had doubts about producing a project of this enormity as many of her cohorts did not know the Kinks. But they then acknowledged them when Zan shared some of the music with them.
Part of the longevity of the band, was its ability to evolve from its proto punk beginnings of simple songs expressing raw teenage emotion to music influenced by British musicals, country, pop and arena rock. In turn, the Kinks influenced many of these genres. Their huge catalog of recordings cannot be completely represented by 2 sets of music, but the concert provided a great overview.
1st Set- Abyssmals and Raurri Jennings
The first set was anchored by Schenectady’s answer to garage/psychedelic rock, The Abyssmals. They burst into the stage with the driving “Your Really Got Me”. This version pays tribute to the 1964 hit rather than the 1978 Van Halen cover. The rawness of this version hits just like the original did back in 1964. Followed up with “All Of The Day And All Of The Night”, ” Let The Good Times Roll” and “Sunny Afternoon”. If the Kinks had rested their laurels on this period, they would still be widely regarded as the Sex Pistols and the Ramones.
Raurri Jennings strapped on a guitar and joined the band. In his other musical life, he is the front man of psychedelic band Front Biz. Noting the change in the band and the increased sophistication of Ray Davies, they played “Muswell Hillbillies” and “20th Century Man”. These compositions lamented the increased alienation of the working class caused by displacement and automation. The satirical yet playful “Apeman” about returning to nature was included. The set was concluded with the catchy tune “Lola”, about a boy falling for a lover of ambivalent gender. Although, this subject is almost commonplace today, in those days it was considered scandalous. That subject was breached again but not with the same success with Richard Thompson’s 1982 rollicking “Woman Or A Man”.
2nd set-Super 400, Zan &Winterfolk, Chris Carey, Mike O’Donnell
The Folksie Winter Folk Trio opened the 2nd set with “This Time Tommorow” from the Lola album and reaching back to 1965’s “Tired of Waiting” celebrating the KInks ability to create melody. Zan then introduced Super 400.
Super 400 should need no introduction. This power trio has just celebrated 30 years as a band. Opening with Lori Friday singing Ray Davies’ “Well Respected Man”, followed by “She is Gone” featuring a psychedelic guitar solo by Ken Hohman.
Super 400 was joined on stage by many others during the remainder of the set. Keyboardist Chris Carey joined onstage, along with Mike O’Donnell from the Rodeo Barons. Chris Carey is part of a Monday night residency at Putnam Place with Super 400 known as Family Tree. Chris Carey’s daughter as well as the daughter of Lori/Ken joined as part of an onstage choir. “Strangers”, “Waterloo Sunset”, “Village Green Preservation Society” were among the songs performed by this large ensemble.
With this ensemble arrayed across the stage, I noticed 2 faces behind the stage, I was wondering whether they would also appear onstage. Mike O’Donnell announced the final number, appear they did, choreographer/dance instructor Jason Fenton and a partner appeared and swing danced to “Come Dancing”, a nostalgic celebration of the Davies’ sister’s Saturday evening dates.
If this wasn’t enough, the grand finale was the entire cast coming on a stage to sing “Victoria”, the opening song for the never performed rock opera “Arthur”, the Kinks answer to Tommy.
Although this was an excellent overview of the Kinks’ output, two memorable songs that hang in my psyche that were not played: “Celluloid Heroes” and “Destroyer.” This surely invites another Kinks tribute with many other songs not included.
